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A refreshing modern spin on a classic that excels in every aspect, from ballet to street dancing, allowing all performers to shine.Summary
Rating
Excellent
Growing up, ballet was a blur, a literal one, given the combination of dim lighting and my poor eyesight. My childhood experiences, spent squinting in stuffy theatres, left me less than enthusiastic about ballet. Yet, KVN Dance Company’s production of Coppélia managed to not only capture my attention but also transform my long-standing ambivalence into admiration.
From the moment you enter, you’re greeted with an intriguing soundscape of ticking clocks and whirring gears, setting the stage for a captivating experience. The performance kicks off with a delightful surprise as Little Maisie, played by Ellis Rother, playfully interacts with the audience, leading us into the world where the lonely Doctor Coppélius, portrayed by Micheal Downing, works on his creation.
The story sticks to the original: Franz (Zach Parkin) and Swanhilda (Ellie Fergusson) are set to marry, but Doctor Coppélius’ creation, the doll Coppélia (Rosie Southall), catches Franz’s eye, leading to complications that Swanhilda must resolve. A notable deviation in this production is that each dancer is given a distinct character, complete with a unique personality that is expressed through both body language and costume, elevating them beyond mere background roles.
A highlight is the Mazurka near the beginning, where wedding preparations are underway. The original music is peppered with hip-hop beats, creating a lively and modern atmosphere, and the dancers all get their moment to shine. This bold choice adds a fresh, accessible twist, although the integration of these modern elements at times does feel slightly reserved.
The dancers each bring unique flair. Gretel (Laura Braid), with her headphones, is particularly memorable for her dynamic presence. Mrs. and Mr. Pumpernickel (Sophie Tierney and Oliver Imeson), despite their uptight and proper demeanour, flirtatiously tease each other when left alone. The leads, Franz and Swanhilda, dazzle with their chemistry and ballet skills, perfectly capturing their characters’ emotions. Coppélia, whenever she appears, is utterly mesmerizing, stealing the show at every opportunity, even though we see relatively little of her.
The score, composed and arranged by Rickard Berg, seamlessly blends composer Leo Delibe’s original fairy-tale-like melodies with pumping hip-hop beats and occasional oppressive, intense mechanical sounds. This musical choice complements the show’s contemporary touches, adding a bit of edge while not deviating too much from a generally upbeat atmosphere. The visual aspects, including imaginative lighting and the Wendy Olver’s costumes, are striking. Swanhilda’s dress in the final act is especially stunning, and Coppellia’s outfit encapsulates the unique blend of steampunk and elegance that defines the show’s aesthetic.
Although Coppélia is a modern take on a classic, it sometimes holds back on fully embracing its strengths. The street dance aspects are very enjoyable but appear too sparingly, as if cautious of alienating classical ballet fans. The same can be said for Coppellia herself.
KVN Dance Company’s Coppélia boldly redefines ballet, captivating both newcomers and seasoned fans alike. It delivers a daring and accessible fusion of timeless elegance and contemporary raw energy that gives goosebumps throughout, demonstrating that even the most classic narratives can be dynamically reimagined and brought to thrilling new life.
Original composed by: Leo Delibe
Composed and arranged by: Rickard Berg
Directed and choreographed by: Kevan Allen
Costume design by: Wendy Olver
Set design by: Justin Williams
Lighting design by: Mike Robertson
Produced by: KVN Dance Company
Coppellia has completed its run at Marylebone Theatre. The show continues its UK tour in June, full listings available here.
