Story ballets are not known for their adherence to logic and believability — we’re talking about an art form whose most beloved example involves a woman who, when convenient, transforms into a swan . “Coppélia,” choreographed by Alexandra Danilova and George Balanchine and now onstage at Pacific Northwest Ballet, is sillier than most. Its plot involves a doll so lifelike that a village boy falls in love with it, an old doll-maker seemingly confused about whether his dolls are real, a spirited village girl who decides to play a trick on them (which seems a bit mean) and a tradition involving the predictive powers of wheat.
And I’m not even getting into Act III, which includes themed solos named “Dawn,” “Prayer” and “Spinner” (in which the dancer doesn’t even spin all that much) and a puzzling “War & Discord” section in which dancers costumed as Roman soldiers wave weaponry about. Luckily, this “Coppélia” has a lot more going for it than plot, namely the beautiful wisteria-hued designs of Roberta Guidi di Bagno ( first seen at PNB in 2010 ), Léo Delibes’ often hauntingly lovely score played by the PNB orchestra and some dancing that was often so good you stopped wondering about the story. On Friday’s opening night, principals Leta Biasucci and James Kirby Rogers played the lead couple, Swanilda and Franz, with an utterly charming playfulness; both have a way of lighting up the entire stage with their presence.
Details in the performance.