Les Ballets de Monte-Carlo: Jean Christophe Maillot’s Contemporary Masterpiece
by Yuhua Emma Zhang
8 June 2024
The stark promotional materials for a run of Coppélia at the Segerstrom Center in Orange County produced by Les Ballets de Monte Carlo (retitled Coppéli.A) initially filled this reviewer with apprehension. The image depicting a nude form covered in a silver body stocking promised a futuristic reworking of the 19th-century scenario, choreography, and music - courtesy of director Jean-Christope Maillot. Abstract manipulations of sound and movement sometimes leave me unconvinced, especially when they do not clarify a dramatic scenario. My expectations could not have been more upended. The performance on March 9 presented a dystopian reality capturing the essence of human emotion through purity of movement and minimalist aesthetics. Such choices might have seemed austere. Instead, they amplified a central theme: the futility of human impulses in a world dominated by artificial intelligence.
Iulian Garcia- Coppelia: Alice Blangero, Les Ballets de Monte- Carlo
The original libretto, drawn from a fantastical story by E.T.A. Hoffmann, tells the charming story of a young man named Frantz who becomes infatuated with a life-like doll, leading to a series of comedic and romantic misunderstandings before a final reconciliation with his true love, Swanhilda, the loveliest village girl. The updated dramaturgy by Jean-Christophe Maillot and Geoffroy Staquet followed the fundamental outline – with a few twists. In a dramatic departure from the original, the ballet concluded as Coppélia murdered her creator, Dr. Coppélius, subverting the original lighthearted tableau of marriage. The darkly transformative ending might have been intended to comment on the possibility of A.I. overcoming its detached experiences and developing human-like emotions. This reinterpretation, developed cohesively throughout every element of the production, captured my interest for the duration.
The performance featured Delibes’ score with a few alterations. Bertrand Maillot, in charge of music, artificially transposed certain sections to the minor key. During such moments, a disembodied voice of a woman chanted “Co-ppé-li.a” in beeping notes while a bell-like ring resonated. The transposition of the soundtrack deliberately coincided with the dimming of the stage, marking the ominous arrival of Coppélius. Maillot’s compelling modification set apart the frightening birth of artificial intelligence, accompanied with the dancer’s fish-like movements, from the humanity of villagers dancing to elegant mazurkas and waltzes. The choreography of Jean-Christophe Maillot marvelously captures the hidden message of the soundtrack. Ksenia Abbazova’s performance delivered Maillot’s vision with utmost precision, embodying the inaccessible spirit of a humanoid robot as she rigidly recoils from Coppélius’s grasp. Meanwhile, Jaeyong An portrayed a deranged Coppélius, frenetically leaping to reflect an emotional volatility clashing with his inhuman creation.
As for the fully human characters, Swanhilda, rendered by Lou Beyne, embodied the naiveté of a girl whose jealousy leads her to break into Coppélius’s studio. Simone Tribuna was an ebullient Frantz, his pas de deux with Swanhilda filled with fluid gestures, playful touches, and mischievous smiles, showcasing humor and charm incomprehensible to a machine.
Photo from "Coppel.i.A.," choreographed by Jean-Christophe Maillot who has been with Les Ballets de Monte-Carlo as artistic director since 1993. It tells the story of two young lovers, Frantz and Swanhilda, who have their lives upended by an artificial being – shaking their foundations and challenging what they thought they knew of love. Photo courtesy of Segerstrom Center for the Arts/Les Ballets de Monte Carlo
Aimée Moreni’s surreal stage design, stripped of the traditional painted sets and Bavarian folk costumes, implemented a monochromatic theme characterized by gray arches, geometric shapes, and crystalline curtains. A thin white film shielded Coppélius' studio from the main stage, allowing Coppélia to escape from Coppélius’s obsessive control by stepping over the barrier. Jean-Christophe Maillot and Samuel Thery’s lighting illuminated scenes of joy and intimacy with tints of pink and warmer shades, while a return to gray signified Coppélius' ominous presence. The costumes, noteworthy for their simplicity and sleekness, embodied a modernist approach to ballet costuming, emphasizing lines of movement rather than characterful embellishments. Swanhilda's attire—a white, flowing skirt–partially revealed the dancer’s legs through translucent material. Coppélia, tightly wrapped in silver foil accentuating her figure, became a visual focal point, a manifestation of both the ethereal and the technical.
More than a mere ballet, Les Ballets de Monte Carlo's "Coppéli.A" is an immersive experience that explores the concept of a rapidly changing world through movement. The production's straightforward approach, both in set design and costume, demonstrates that strong and simple storytelling can result in moments of profound meaning. Les Ballets de Monte Carlo has once again demonstrated the power of art to uplift us beyond our immediate concerns, making "Coppéli.A" a must-see for those who seek beauty in its most distilled form. Although the production will not reappear in American theaters, Segerstrom promises future opportunities to view world-class performances blending innovation with tradition.
To purchase tickets or to see more of the concert events taking place at Segerstrom, visit the Segerstrom Center website or call the Box Office at (714) 556-2787.
