Coppelia, The Australian Ballet, Palais Theatre, Wednesday September 28th 2016
"Coppelia"is revived by The Australian Ballet, Palais Theatre, Wednesday September 28th 2016.For those new to my blog I write about the holistic experience of attending the theatre. I buy my own tickets. So if you want a re-telling of the story please refer to the links for further information or for further insights. Note, that I may provide different links for repeated main words or phrases. I write for my memories of what I have seen, and is more of a stream of consciousness.
This production of "Coppelia" was devised and directed by George Ogilvie with original choreography by Arthur Saint-Leon and revised by Marius Petipa and Enrico Cecchetti. This original choreography was reproduced by Peggy Van Pragh, and then by the Benesh Notator Mark Kay.
Sets and Costume Design are by Kristian Fredrikson. His sets are costumes are as sumptuous as ever.
Lighting Design is by Francis Croese creates the right amount of focus on this narrative ballet.
Staging at the Palais Theatre at 13 metres looks cramped compared to The State Theatre's 15.44 metres proscenium stage width. But oh the seats are so much more comfortable and the ushers are better at the Palais Theatre as they escort you to your seat! I remember seeing this production originally in 1979 here and it did not look quite as cramped with the amount of crashing into each other that occurred in the large ensemble dances.
The best part of the "Coppelia" was the sublime duo of Ako Kondo dancing Swanilda with her real life partner Chengu Guo as Franz. Chengu Guo's pirouettes and grande coupe en jete entournant menage were steely and electric.
The other aspect was the orchestra who played the delicious music of Leo Delibes brilliantly under the expert direction of Nicolette Fraillon.
Some of the crashing into each other for the corps de ballet was distracting. But the view from our seats was sensational.
I was disappointed that The Australian Ballet did not explain to subscribers either in the brochure or the press the reason for the move to the Palais Theatre. I guessed it was to do with the "Ring Cycle" and rang and confirmed this prior to attending. Still The Australian Ballet did not tell subscribers and I had regulars asking me if I knew the reason. These regulars also were disgusted that The Australian Ballet did not tell their regulars.
Overall this production received a good but not great 7/10.
Sets and Costume Design are by Kristian Fredrikson. His sets are costumes are as sumptuous as ever.
Lighting Design is by Francis Croese creates the right amount of focus on this narrative ballet.
Staging at the Palais Theatre at 13 metres looks cramped compared to The State Theatre's 15.44 metres proscenium stage width. But oh the seats are so much more comfortable and the ushers are better at the Palais Theatre as they escort you to your seat! I remember seeing this production originally in 1979 here and it did not look quite as cramped with the amount of crashing into each other that occurred in the large ensemble dances.
The best part of the "Coppelia" was the sublime duo of Ako Kondo dancing Swanilda with her real life partner Chengu Guo as Franz. Chengu Guo's pirouettes and grande coupe en jete entournant menage were steely and electric.
The other aspect was the orchestra who played the delicious music of Leo Delibes brilliantly under the expert direction of Nicolette Fraillon.
Some of the crashing into each other for the corps de ballet was distracting. But the view from our seats was sensational.
I was disappointed that The Australian Ballet did not explain to subscribers either in the brochure or the press the reason for the move to the Palais Theatre. I guessed it was to do with the "Ring Cycle" and rang and confirmed this prior to attending. Still The Australian Ballet did not tell subscribers and I had regulars asking me if I knew the reason. These regulars also were disgusted that The Australian Ballet did not tell their regulars.
Overall this production received a good but not great 7/10.
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