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Natasha Rogai

Coppelia
Hong Kong Ballet
HK Cultural Centre Grand Theatre
Reviewed: Aug 23
Created in 1870, Coppelia  is still danced worldwide today, thanks in part to the irresistible score by Leo Delibes.  Based on a Hoffmann  tale, the  much-loved comedy ballet tells the story of a beautiful doll created by Dr Coppelius, who dreams of bringing her to life, and the farcical consequences  that ensue when their paths cross with village sweethearts Franz and Swanhilda.
Many versions exist and it has become popular to explore the darker aspects  of the story, but Ronald Hynd's  celebrated production stays  on the sunny side. This welcome addition to Hong Kong Ballet's repertoire is based on Marius Petipa's  1884 choreography.
Packed with good dancing, it has spirited ensembles for the corps de ballet and a seemingly endless succession of virtuoso solos for the principals. It demonstrates Hynd's ability to present detailed, convincing characters and make the audience, children and adults alike, laugh. It was a real pleasure to savour individual bits of comic business from the different dancers and to see classical mime performed so clearly and with such conviction that everyone could follow it.
In the leading roles, Saturday night's performance was blessed with three  star performances. Kyoko Tomimura,  a natural soubrette, made  an ideal Swanhilda - feisty but warm-hearted, with expressive acting matched by dancing of precision, speed and lightness. Her Act  Two Scottish variation and final solo in Act  Three were outstanding. The faithless Franz can be one of ballet's least appealing heroes, but Nobuo Fujino  made  him  a loveable bad boy you can't help falling for - full of charm and so sexy you can see why Swanhilda takes him back.
Carlo Pacis  is a performer who can dominate the stage through sheer force of personality and knows how to act with his whole body. His Coppelius was vividly detailed and hysterically funny, with just the right touch of pathos when the old inventor's dream is shattered.
In the orchestra pit, Yip Wing-sie  and the  Hong Kong Sinfonietta  did justice to the music and remained  sensitive to the dancers' needs.



Coppelia