Word: coppelia
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Dates: during 1950-1959
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...company is led by the well-known stars Nora Kaye and John Kriza and consists of 14 dancers drawn from the corps of the Ballet Theatre. The program up to last night included Pas de Deesses, Pas de Deux from Coppelia, A Streetcar Named Desire, and Interplay. Selections scheduled for the rest of the week are Designs With Strings, The Combat, Pas de Deux from Swan Lake, and Fancy Free (choreographed by Jerome Robbins and set to music by Leonard Bernstein...
...next number was the traditional Pas de Deux, this time from the third act of Coppelia. Intended to give the prima ballerina and danseur noble a chance to demonstrate their technical virtuosity, it succeeded only in showing that Miss Kaye and Kriza, though excellent dancers are not suited for such restraining numbers...
...latest revision by Director Ninette de Valois of that old charmer, Coppélia starring petite Ballerina Nadia Nerina, a whirlwind dancer, a vivacious actress and an impudent comedienne all at once. Coppelia, as generations of balletgoers know is a mechanical doll who all but wins the heart of a young man. Dolls of several nationalities dance in the dollmaker's workshop, elegantly costumed peasants gambol m the village square, and occasionally the story stops for a joyful pas de deux: in short, a delightful show...
...back in the U.S. for the fourth time, it was greeted by New Yorkers as an old friend. Indeed, it had not changed. Along with its 48 tons of imposing scenery and costumes, it brought a repertory that included a familiar full-length Swan Lake, a new production of Coppelia, a restaging of Fokine's Firebird; all these are ballets reaching to a wide public that cares less for pirouettes than for the pageantry of a world peopled by kings and queens, wicked magicians and good fairies in butterfly-drawn coaches...
...trunks is something new and different in ballet. It is danced in modern "classic" style, with clean-cut silhouettes and unwasted movements. It often dares to use "classical" scores by Mozart and Bach. But it avoids telling such long-winded old "classical" ballet tales as the beautiful mechanical doll (Coppelia), the bewitched princess (Sleeping Beauty), or the peasant girl in love with the prince (Giselle). Though it is sometimes called "American" ballet, it pays almost no attention to "Americana." The repertory leans heavily (about 60%) on the choreographic work of Balanchine himself. A typical program might contain his Symphony...