Review: Coppelia, Bristol Hippodrome

There are three great entry-level ballets for children: The Nutcracker, La Fille Mal Gardée and Coppélia, the 19th-century tale of a doll who astonishes its creator by apparently coming to life – complete with fabulous music by Léo Delibes. All three are charming fairy stories, but all are equally enjoyable to adults.

None of these ballets attempt to be obscure or “difficult”. Much of the choreography of Coppélia is practically dumb show – knees really knock together when characters are scared, old men really get smacked in the face for slapstick comic effect – but this all helps to make this ballet such a joy.

This production has been very lavishly staged, with three elaborately designed sets and richly detailed costumes to match. It looks expensive – a class act that reeks of money being spent in all the right places.

It opens in what’s effectively an uber-Bavarian village square. Eccentric inventor Dr Coppélius, (Michael O`Hare) sits on his balcony with his latest creation – the automaton, Coppélia. She is not a sophisticated machine. She can barely blow a jerky kiss to Franz (danced by Tyrone Singleton) below, but as Franz is a bit of a chancer that’s all the excuse he needs to put his feisty betrothed, Swanilda (performed here by Céline Gittens) on one side while he sneaks off to get a ladder.

Naturally, Swanilda is not having that, and Act Two finds her and her girlfriends creeping around the spooky liar of Dr Coppélius. She assumes the role of Coppélia, first dancing in a clumsy, wooden way before gradually becoming increasingly graceful – much to the inventor’s delight. If you really wanted to sound clever you might suggest there’s a hint of Pygmalion going on here – but I’m not sure Coppélia really supports the weight of the analogy.

The ballet is nearly all a feast of comedy (and it all ends happily), but there are a few little moments of sadness (like when old Dr Coppélius realises he`s been duped by a cruel trick) that just make the feast even more satisfying and nuanced.

There is nothing like a live orchestra for a good night at the Hippodrome – and this one is splendid. It well deserved the cheers it received on this first night from the highly appreciative Bristol audience. Of course, their work was helped by how many wonderful tunes this ballet includes. Even before their overture is finished you’ll be sitting back in your seat thinking to yourself, “Oh, yeah, I recognise this one….” That happens at least four or five times throughout the evening.

And finally, the children. If the scenes in Bristol’s city centre were anything to go by, Coppélia seems to have lost none of its magic over the last couple of hundred years. There were plenty of aspiring ballerinas and leading men practising a few steps on their way home.

Coppélia continues at the Hippodrome until July 1. For more info and to book tickets, visit www.atgtickets.com/shows/coppelia/bristol-hippodrome

Read more: Review: Swan Lake, Bristol Hippodrome