'Coppelia:' a brilliant reflection of an abiding artistic partnership

Indiana Woodward and Chun Wai Chan are Swanilda and Frantz in George Balanchine and Alexandra Danilova’s colorful and comical "Coppélia," which is being performed at the Saratoga Performing Arts Center through Saturday. (Photo by Paul Kolnik)

George Balanchine touched the lives of so many — artists and audience alike. But only one person – Alexandra “Choura” Danilova – was there for it all — from childhood to death.

As children, they attended the Imperial Ballet School in Russia, escaped the country’s deprivation after the revolution to join the Ballets Russes, performing throughout the world, and then, at Lincoln Kirstein’s bidding, they came to America.
 
There, as Balanchine built his company, Danilova built his school. And together, they created one of the world’s greatest ballet companies.
 
Over the next few days at the Saratoga Performing Arts Center, one of the great achievements of their abiding friendship will be onstage. “Coppelia,” the only ballet that Danilova choreographed with Balanchine, is opening New York City Ballet’s short stint at the outdoor amphitheater. And though it’s very familiar to audiences there, as it made its world premiere at SPAC in 1974 and played here frequently over the years, it never fails to delight. The romantic comedy, with music by Leo Delibes, is bright, lively, and guaranteed to please.
 
It centers on the story of Swanilda and Frantz. He loves her, but also loves a doll, whom he thinks is a real person. He throws her kisses as she sits on the balcony of a toymaker. What unfolds are all sort of antics as Swanilda and her friends and then Frantz sneak into the workshop. Of course, there is a happy ending.
 
But what is so impressive – and why it is so important that upstate audiences cherish New York City Ballet – are both the orchestra and the dancers. Under the baton of Andrew Litton, the music soared. And the cast, with Indiana Woodward as Swanilda, Chun Wai Chan as Frantz and Taylor Stanley as toymaker Dr. Coppelius, enchanted, making Wednesday’s evening program a delight.
 
Woodward embodied her role as the sweet, but mischievous Swanilda by embodying the music. Every note was emphasized and heightened in her body most generously. She wasn’t thinking of the step, but letting the music carry her through her petit allegro with ease. She also held her own with Chan, a charming presence, in their spirited grand pas de deux at the end.
 
Stanley in the role of the elderly toymaker was also astounding. He’s known for his depth – not his comedic abilities. And now we all know, he can do both with aplomb. His creaky, hunched, wobbly character was amusing.
 
Also making this ballet so special were the children – a brood of 24 in pink tutus that looked like clouds as they bounced about framing the four soloist who blessed the wedding festivities.
 
And while Danilova’s name is listed in the program along with the other major players in the creation of “Coppelia,” her contribution is offered up in a visual salute in the design of the wedding day bells. Her initials, along with those of Balanchine and others, are seemingly etched into the chimes.
 
City Ballet respectfully, and happily for the audience, truly honors the legacy.