EILEEN BELL casts a ballet novice’s eye over the latest production from Ballet West.

ATTENDING THE BALLET isn’t traditionally a popular Friday-night activity for your typical twenty-something, and tonight’s performance of ‘Coppelia’ shows that quite clearly.  This may simply be because Perth’s highland charm is yet to be marred by a university full of youngsters; regardless, I seem to be one of the few representing my generation.
 
I’d like to boast that I’m not your typical twenty-something; but I feel it’s safer to be truthful.  Three months ago, the ballet was as far from my mind as spending Christmas in Iraq.
  
The impetus to attend tonight’s performance of ‘Coppelia’ came when I had the good fortune to be invited on a tour of Argyll and the Isles by HI~Arts in November. (More on the joys of the magical mystery tour is yet to come, so watch this space.)
 
One of the stops was Ballet West in Taynuilt, where I had the chance to see scenes from ‘Coppelia’ close-up. And I mean close.  Feats of inexplicable flexibility were taking place before my very eyes.  In my imagination, ballerina figurines had always leapt with effortless grace; here, I saw that the appearance of ease takes a huge amount of work.
  
We heard the thump as the dancers landed, saw the muscles quiver, watched as the nuances of performance were ironed out.  I had to see the finished product.  So, here I am, in Perth.

“All things considered, this production of ‘Coppelia’ was an enjoyable spectacle, and I’d highly recommend spending an evening with Ballet West.”

As a product of my generation, I’m used to stories told with dialogue; ballet, however, relies on a combination of silence and over-acting. I need time to switch from ‘West Wing’ mode.  The gear-change is duly rewarded, as I see some bright young things (in very pretty costumes) bring Coppelia’s story to life.
 
In actuality, Coppelia herself hasn’t got a huge part; but she is the cause of a few problems.  A beautiful doll created by the toymaker Coppelius, she’s so life-like as to look human.  Our leading lady, Swanilda, tries to make friends, becoming miffed when she gets no response; her offense grows when she sees her boyfriend Franz flirting with Coppelia.  The mechanical doll is brought to ‘life’ by the mischevious Coppelius, so that Franz thinks his advances are welcomed – as does his Swanilda.
 
The story is a good one, and its characters are fairly well-rounded.  Coppelius is at once playful and dangerous; Franz is loving but foolish; and Swanilda is tempestuous, but ultimately forgiving.

Ballet West do an excellent job here.  Apart from one or two novice mistakes, they’re good.  The younger dancers show promise, though the acting does at times seem a bit lacklustre; this will hopefully change as they grow in confidence.

Sara-Maria Barton as Swanilda is a true professional.  The consummate Miss Pink, she pulls the already-impressive performance into another league.  It must be said that Jonathan Barton’s Franz is also pretty noteworthy.  The other soloists (David Horn, Kelly McCole, and Sarah O’Connell) certainly hold their own, and the third act gives them a well-deserved chance to show off.
 
The only downside to such talent is that most of their fellows fall a bit short in comparison.  But all things considered, this production of ‘Coppelia’ was an enjoyable spectacle, and I’d highly recommend spending an evening with Ballet West.  They may surprise you.

‘Coppelia’ runs until 19th February 2005, stopping in Stirling (MacRobert Theatre), Livingston (Howden Park Centre), Cumbernauld (Cumbernauld Theatre), and Kilmarnock (Palace Theatre).
 

© Eileen Bell, 2005