Director's Cut
Yellow caution tape dangles from the doorway to the Jerome Robbins Theater and ropes off every row of seats.
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Watching Pacific Northwest Ballet’s “Coppélia,” which the Seattle company generously released as a digital stream for distant fans, you could easily fall down two historically rewarding rabbit holes.
The first would take you to Paris circa 1870, when “Coppélia” premiered with music by Léo Delibes and choreography by Arthur Saint-Léon (and with almost no partnering because all the male roles were played by women en travesti!), in the decadent last hurrah before the Franco-Prussian War. The second historical rabbit hole would take you to New York City Ballet in 1974, when critical adulation for George Balanchine was at peak frenzy, and generationally definitive dancers including Patricia McBride, Helgi Tomasson, and Merrill Ashley gave landmark performances in his new staging of “Coppélia,” created in close collaboration with Alexandra Danilova, one of the ballet’s great interpreters.
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Yellow caution tape dangles from the doorway to the Jerome Robbins Theater and ropes off every row of seats.
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