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Through stunning displays of acting and technical brilliance, Lazar created a Coppelia modeled in large part upon the original St. Leon choreography, yet with unique choreographic innovations that enhanced the ballet while not distracting from the dancing. For instance, in the opening scene where, in the traditional Saint Leon choreography, Swanilda dominates the stage, Lazar has her perform variations with passers-by, villagers who, in concert, witness the presence of the doll. In one passage, she is lifted by several partners, performing petite batterie in triumph, then after pouting, exits the stage, expressing her annoyance with Frantz who continues to flirt with Coppelia. In response, Frantz’s solo, performed by Paul Gilliam, expresses total oblivion of her feelings, while expressing longing exuberance for the unattainable.

Choreographically, Lazar expands upon the original group choreography through the inclusion of mini-variations for company soloists, such as the lithe Abby Maruna, who performed mini rond de jambs en l’air with startling ease. Refreshing as well was the new array of dancers Lazar has culled from a variety of schools, bringing to the company a technical array rarely seen in this region. Gilliam’s presence on stage is dominated by superb form, especially in turns and in grand jetés, that blend with the sure, yet delicate balances of Villalobos portrayal of Swanilda. When the ballerina returns triumphantly, after exiting the stage in frustration, her variation captures the audience, visually enhancing succeeding sequences of dances by member of the corps that dominate Act I.

In the second Siebel’s charged acting skill characterized an eccentric Coppélius, bewitched by his doll-creation, yet incredulous enough to believe he can woo her. As Swanilda assumes the diverse postures of dolls in the attic, impersonations which range from those of Spanish flamenco to Scottish jigs, the result is both comic and spectacular. As a charmed and charming Coppelius, Seibel commanded the stage with darting movement patterns and characterizations causing the audience to roar with laughter.

There were other performances of note, such as those of Valeska Mosich-Miller as Prayer whose spiritual conception of the variation enhanced the story-line dominated by fantasy. The Dawn variation in Act III, performed by Alex Guiffre exhibited powerful musicality and increased momentum to the narrative. Coppelia commands from its dancers hidden dramatic ranges and these are indeed performers to watch who can match those demands.

What made Lazar’s Coppelia special was its refreshing blend of musicality and theatricality in a freshly conceived production venue. Although an unseemly blend of costume styles and awkward entrances and exits at times marred the flow of the dances, it was a happy event. With sets expertly designed by Seay Earehart, Lazar showcases in Coppelia a group of ensemble dancers who reign as soloists of distinct performance styles.