NYCB 2024: Coppélia
Megan Fairchild and Anthony Huxley in Coppélia choreographed by George Balanchine and Alexandra Danilova. Photo credit: Erin Baiano
On September 27, 2024, New York City Ballet presented the first performance of Balanchine's 'Coppélia' for the Fall Season. This cherished, comedic work was given wonderful treatment through the charming staging and captivating choreography, allowing the artists and orchestra to make the most of their talents and time on stage.
Following the overture, the curtain rises to a stunning, pastel backdrop and set by Rouben Ter-Arutunian which brings to E.T.A. Hoffman's somewhat dark story an almost fairy tale-esque tone which pervades through the performance. The result is a potent mixture of style and substance which conveys its story beautifully without sacrificing any of its underlying grit or darker themes.
In the character role of Dr. Coppelius, guest artist Robert La Fosse was a highly effective storyteller through his use of gesture and expression, conveying a wealth of emotions in the Doctor's efforts to bring his work to life. His attentive and careful touch with the doll Coppélia during the Act 1 scenes spoke much of his emotional investment, and as things took off during his interactions with the disguised Swanhilda in the second act, one could almost feel sympathetic towards this old toymaker as his feelings towards Coppélia swelled into the realm of worship and just until his hands started to wander elsewhere. Through it all, La Fosse was a great source of comedy for the principals to play off.
Megan Fairchild and Robert La Fosse in Coppélia choreographed by George Balanchine and Alexandra Danilova. Photo credit: Erin Baiano
Performing the role of Frantz, Anthony Huxley carried a sense of dash which seemed effortless as he was carried across the stage by passion for Coppélia and Swanhilda both. While he showed splendid and sensitive partnering through his Act 1 pas de deux with Fairchild, his lighthearted tossing of the sheath of wheat was a truly funny break from tradition to cap everything off. This sense of humor was taken to mischievous heights as he arranged for the men to hassle Coppelius as opposed to it happening by chance, providing entrance not only for himself but for Swanhilda and her friends moments later. This choice gave some nuance to their later interaction when Frantz is caught in the doctor's workshop, making for a nice comedic scene before the second act's antics kick into higher gear.
As Swanhilda, Megan Fairchild was consistently charming in her demeanor and refined in technique, all of which helped her shine during her numbers and scenes. Her excited demeanor during the opening "valse et jalousie" introduced us to a Swanhilda bursting with joy at the thought of her upcoming nuptials, focusing on her own delight and not the lack of response of the doll to close. Her inquisitive and plucky nature was also seen early on in her attempt to peer inside Coppelius' workshop moments before the unseen crash, finely setting up her later decision to enter once the key makes its way to her.
Once inside the workshop, we're treated to some comedic moments as the girls get their bearings and leave it to Swanhilda to inspect the doll Coppélia. Her time disguised as the doll was handled splendidly as she played into the Doctor's ritual and seemed to come more and more to life, leading to a lovely and funny sampler of moves through the danse espagnole and éccossaise, breaking from polished steps to quickly batter at Coppelius or try to wake Frantz. After these antics are all done away with, Swanhilda is free to revel in the festivities as her marriage is blessed, leading to an absolutely captivating pas de deux as she and Huxley navigated the choreography with utter finesse. On their own, they were truly fine artists, but watching them finally come together at the end of all the laughter and drama was something else entirely.
While the cast is comprised of only three characters, there's no shortage of vitality as the village and set is often bustling from the corps, leading to vivacious mazurkas and folk dances in the first act, or the automatons which create the wonder of Coppelius' workshop as they snap into motion. The third act also featured children from The School of American Ballet, bolstering the dances as they flowed into various groups and figures.
Megan Fairchild, Anthony Huxley and the Company in Coppélia choreographed by George Balanchine and Alexandra Danilova. Photo credit: Erin Baiano
The story unfolds in true Balanchine fashion, neatly wrapping up the plot by the beginning of the third act, leaving the remaining time for a spirited assortment of dances and divertissements which did not fail to delight the audience this evening. Following the 'Waltz of the Golden Hours' we're treated to the first of the dances, 'Dawn,' performed by Ashley Hod as she toured the stage with a jubilance which warmed and excited through her leaps and energy. After this was 'Prayer,' danced by Miriam Miller who was carried along by a wonderfully soft andante. Last of this set was 'Spinner,' performed by Olivia MacKinnon as her whirls and pivots brought the the charge of these preceding dances to a lovely conclusion.
Following the lighthearted steps and chimes of the 'Four Jesterettes,' a bold, martial scene suddenly descended in the form of 'Discord and War.' Under darkened skies, a host of warriors leapt and fought in a powerful and brief display, the aftermath of which heralded the approach of clearer skies and set the stage for the stunning pastel de deux and finale.
Friday's performance had much to enjoy through the enchanting set and thrilling technique of the dancers. This production highlights the work's strengths to wonderful effect while keeping the influences of its source material, and has to be my favorite production of this ballet, personally speaking. Lovers of dance and audiences old and new alike will find much to dazzle their eye in this family-friendly staging.
'Coppélia' will run for two more performances on October 5 and 6, with NYCB's Fall season lasting until Oct. 13; patrons won't want to miss these last two weeks of dance before the company breaks until winter for their beloved run of Balanchine's 'The Nutcracker.'
- written by Logan Martell.