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This production, from 1995, really is rather good. As said before, it’s a given on seeing Sir Peter Wright’s name in the credits. His magic is a delicate and thoughtful touch that gives life not only to dolls, but to the whole corps too, with dances blessed with a wonderful musical, fluent, buoyant quality, burdened by just the right degree of energy to kindle and sustain their sparkle for the appreciation of everyone in the theatre. I especially enjoyed the opening Dance of the Hours in Act 3.

The sets and costumes of Peter Farmer ensure the performance gets off to a good start – no overly bold, garish, in your face contrasts and crudeness, but relaxed pictures of village scenes and an earthly atmosphere co-existing with a timeless magic and charm; light and bright, but rich and refined too.

If you had to look to just one character for the embodiment of the qualities of this ballet and production, you could hardly do better than choose the Swanilda of Carol-Anne Millar, who must be one of the finest dance-actresses in the Company. From the very beginning, she establishes a youthful outgoing girl, a free spirit, full of life and a notable absence of cares on her shoulders. She’s determined too and quickly roused to action, not willing to hide her injuries away. Her characterisation is guaranteed by her highly communicative acting and the thoughtful precision and dexterity of her movements, bringing wonderful finishes and balances.

Joseph Caley was a Franz of tremendous fun, high energy and enthusiasm and a total great laugh. He really was just an innocent boy, a bit of a rascal, programmed to have fun, live life to the full and take each and every opportunity - asap. He convincingly put across the dual nature of Franz – on the one hand living only for Swanilda and then a minute later off to pursue his innocent fun, becoming the life and soul of the village dances.
 

The test of Franz’s love with the ear of corn was beautifully danced - steadily, unhurriedly and very poignantly. Millar and Caley were superb together and it was marvellous to see the gentle perseverance on both sides, yet with a subtle but notable contrast – Swanilda’s repeated cycles of hopes clouded by doubts and fears, against Caley’s cheerful spirits and enduring optimism. His unwavering faith remains in himself and his girl and sure enough, he’s the one who hears the corn. A wonderful example of a beautiful plot, full of meaning, playing on top of a beautiful dance.

Inside Coppélius’s workshop, Swanilda and her friends set in motion his collection of dolls. These appeared to be somewhat underpowered and not the most nimble and agile of inventions – it seems that Dr Coppélius might be more of a tinker than a master craftsman. But hang on a minute - his masterpiece is about to make her entrance. Played by Millar, she’s everything his pride and joy should be, from limp and lifeless body to wonderful mechanical movements, topped off by a quite remarkable fixed stare and absent, lifeless, expression. But she’s also more than he bargained for – a bit too unpredictable for comfort and liable to go out of control at any moment. When given essence of heart of Franz, she comes to life in the most exquisite manner. Upon rescuing Franz, there’s a great moment when she knows that she must reveal the trick to Coppélius and that he will be distraught – she takes time to let him down as gently as she can.

Rory Mackay played Coppélius with lively eccentricity and comedy. I felt that there’s more depth to the character that he needs to develop. I would like to see Coppélius’s inner motivations and feelings brought out in Act 2 - his hopes and longings, his turmoil, sadness and fears. The age and the wear and tear of the character was somewhat diminished and hence did not contrast as it might have done against the fresh youth of Swanilda and Franz. However, his mimes were well articulated and he worked well with the leads in respect of the narrative.

The final act gave us the beautiful Dawn and Prayer of Laëtitia Lo Sardo and Jenna Roberts and the final Peace of Millar and Caley. By this stage, Caley must have been exhausted by his earlier high endeavours and a few signs of strain crept into his partnering. It’s a tribute to the stamina and preparation of the leads that they brought a full afternoon’s work to a triumphant close.

Overall, a wonderful performance of a great work, and I’m so pleased I saw it.