In artistry, details create perfection. For Dr. Coppelius, the added touch of purple ribbons and rosy cheeks gave his doll, Coppélia, a human appearance.
Like Dr. Coppelius, the Utah Ballet is focused on the particulars of the life-like toy. However, the company’s attention is geared toward the intricate set design, appealing choreography, and humorous acting surrounding the toymaker’s obsession.
Named after the awe-inspiring doll, the comedic ballet “Coppélia” opened Thursday at the Marriott Center for Dance. Unlike in professional productions of the popular show, the U’s Department of Ballet students perform all roles.
Last August, choreographer René Daveluy accepted the challenge of auditioning over 100 students of varying skill levels. And after several months of planning, “Coppélia’s” cast is comprised of 60-plus dancers.
“I think it’s to the credit to the U Department of Ballet — they developed a program where you can have 60 dancers that you select and blend them, because not every dancer is from the same level,” says Jan Clark Fugit, principal faculty with Ballet West Academy.
Along with Daveluy, Fugit coached and reworked “Coppélia” for the college setting. This is the second time the duo has planned and altered the ballet. Years ago, they paid homage to William F. Christensen, founder of Ballet West and the Utah Ballet with a youth version of the story.
With the element of comedy, Daveluy, Fugit, and U Department of Ballet Professor Richard Wacko are commemorating Christensen, who introduced the first American production of “Coppélia” to audiences in 1939, once more.
Set in a Polish village, Act I of “Coppélia” presents the romance of Swanhilda and Franz. During their courtship, Franz catches sight of the doll Coppélia. Thinking she is a real woman, he tries to attract her attention, which makes Swanhilda jealous. As the storyline unfolds, chaos ensues. And in ballet fashion, disorder makes for enthralling, comedic scenes.
“This particular version makes use of slapstick comedy, and the slapstick comedy is integrated in a classical ballet setting,” Daveluy says. “It’s a very fine art.”
When assembling choreography, Christensen enjoyed adding the element of vaudeville, a genre of theatre that combines comedy and dance. Christensen’s love of the entertainment medium is continued in Daveluy and Fugit’s revamp of “Coppélia.” With Dr. Coppelius’ crotchety moves and Franz’s love-drunk stupor, Utah Ballet’s dancers tackle exaggerated facial expressions and theatrical mannerisms.
In addition to the humor, the U Department of Ballet built a set from scratch. The program also paid respect to “Coppélia’s” history with Richard Wacko’s choreography of character dances, which use folk-inspired steps.
Though Daveluy and Fugit stressed the ballet’s laughable moments, the story of “Coppélia” has dark roots. Based on E.T.A. Hoffmann’s short story “The Sandman,” “Coppélia” analyzes themes such as death, love, and obsession.
In Daveluy and Fugit’s case, comedy is a way to attack more serious themes. To them, a satirical approach is more relatable to college students.
“Relationships and control over someone else — it’s all in there. It’s just masked under the veil of comedy and comedy ballet,” Daveluy says.
Control is “Coppélia’s” mainstay. With Dr. Coppelia’s Pygmalion ideal of fashioning the perfect woman and Franz’s inability to commit, Fugit and Daveluy agree the ballet’s themes are applicable to past and present-day society.
Coppélia continues today and April 12, 17, 18, and 19.