Presented by
Coppelia, a Ballet
Music By Léo Delibes
Libretto by Charles-Louis -Étienne Nuitter
Based on Der Sandmann & Die Puppe by
E.T.A. Hoffmann
With
Jessica Maddox Brandon Bishop Eric Cummings
Natalie Smith Ariana Neshat Konor Erickson
Elise Knight Rachel Liouh Tyrza LaVetter
Emma King Isabel Viala Conrad Williams
Directed by Kailtyn Bass Assistant Director/ Stage/Lighting Costume Design Stage Manager Design Katrina Menard LeeAnn King JR Lawrence
Choreographers LeeAnn King, Megan Dacus & Abi Mason The Story of Coppelia Act 1
The story begins during a town festival in celebration of a new town bell that is due to arrive in the coming days. Anyone who wants to be married on that day will be awarded with a special gift of money. Swanhilda is engaged to Franz and plans to marry during the festival. Swanhilda asks Franz if he loves her and he answers yes, but she senses a lack of sincerity in his reply. She becomes unhappy with her fiancé because it seems he is more interested in getting another girl’s attention. The girl is Coppelia who sits on the toy-maker Dr. Coppelius’s balcony reading all day long, paying no heed and showing no care for anyone trying to be social with her. Franz is mesmerized by her beauty and is determined to get her attention. Swanhilda is deeply hurt by his distractions and feels he does not love her despite his answers. Because she doesn’t trust his words, Swanhilda decides to turn to an old wives tale for guidance. When an ear of wheat is shaken, whoever hears the wheat rattle is said to be in love. She holds up an ear of wheat to her ear and gives is a shake and hears a rattle! Franz hears nothing. Swanhilda, desperate for Franz to hear the rattle, continues to shake the wheat in his ear with no success. Eventually, Swanhilda gives up and tosses the wheat away. When Dr. Coppelius leaves his house, he is heckled by Franz and a group of other young men. After running them off he finally goes on his way not knowing that he dropped his keys in the process of chasing the boys away. Swanhilda finds his keys and is determined to find out more of Coppélia. She and her friends decide to go inside Dr. Coppelius’s house. Meanwhile, Franz develops his own plan to meet Coppélia. He climbs up a ladder to Coppélia's balcony.
Act 2 Swanhilda and her friends find themselves in a large room filled with people, but these people aren't moving. The girls discover that these are not people, but life-size mechanical dolls. They quickly wind them up and watch them move. In her searching, Swanhilda finds Coppelia behind a curtain and discovers that she, too, is a doll. When Dr. Coppelius returns home, he finds the girls in his house. He becomes angry not only for getting into his house, but for also messing up his workroom, and kicks the girls out not noticing Swanhilda hidden behind Coppelia. Dr. Coppelius begins cleaning up the mess and notices Franz coming into the window. Dr. Coppelius catches Franz and asks him why he is in his house. Franz tells him that he is in love with Coppelia and wants to marry her. Instead of shooing him away, he welcomes Franz into his home. Dr. Coppelius wants to bring Coppelia to life and in order to do so, he needs a human sacrifice. His magic spell will take Franz’s life and transfer it to Coppelia. Dr. Coppelius gives Franz some wine laced with sleeping powder and Franz begins to fall asleep. Dr. Coppelius then readies his magic spell.
Swanhilda dresses up in Coppelia’s clothes and pretends to come to life, fooling Dr. Coppelius into thinking his spell has been successful. She wakes up Franz and quickly escapes by winding up all of the mechanical dolls. Dr. Coppelius becomes saddened to find a lifeless Coppelia hidden behind a curtain.
Act 3
The next day dawns and the entire town is celebrating their new clock’s bell. Swanhilda and Franz have just said their vows when the angry Dr. Coppelius shows up. Franz & Swanhilda feel bad about causing such a mess and Dr Coppelius, in a moment of clarity, forgives them. Swanhilda and Franz get married and the entire town celebrates by dancing.
Cast Swanhilda...... Jessica Maddox Swanhilda (Understudy)...... Rachel Liouh Franz...... Brandon Bishop Dr. Coppelius...... Eric Cummings Coppelia...... Natalie Smith Mazurka Leads...... Konor Erickson & Ariana Neshat Czardas Leads...... Conrad Williams & Isabel Viala Swanhilda’s Friends...... Elise Knight, Rachel Liouh, Tyrza LaVetter, Emma King, Emma Barrett (Understudy) Spanish Doll...... Emma Grace Brown Harlequin Dolls...... Konor Erickson & Caroline Box Scottish Dolls...... Marlee Kirby & Kasen Erickson Chinese Doll...... Chloe Viala Preacher...... Lydia Howard Mayor...... Conrad Williams Acolytes...... Chloe Smith, Jirzey Allen, Brighton Williams Dawn Variation...... Elise Knight Prayer Variation...... Tyrza LaVetter Prayer Variation (Understudy)...... Isabel Viala Work Variation (Friday & Sunday)...... Elise Knight Work Variation (Saturday & Monday)...... Isabel Viala Work Variation (Understudy)...... Emma King Folly Variation...... Rachel Liouh Mazurka Corps Caroline Box Chloe Viala Lily Martin Jenna Dortch Molly Doty Jacinda Cribbs Mia Spengler Aaliyah Spengler Saniah Mitchell Kasen Erickson Abby Catlett Kanon Julian Emma Grace Brown Czardas Corps Saniah Mitchell Gabrielle Guidry Lucy Box Emma Barrett Aaliyah Spengler Jenna Dortch Molly Doty Kilee Erickson Addie Escue Elizabeth Lewallen The Hours Lucy Box Elizabeth Lewallen Addie Escue Emma King Emma Barrett Isabel Viala Tyrza LaVetter Crew
Backstage
Stage Manager ...... LeeAnn King
Assistant Stage ...... Megan Dacus & Abi Mason Managers
Lightboard ...... Ken Fields
Sound ...... Ian Buchanan
Build Team
Set & Lighting ...... JR Lawrence Design Set Construction ...... JR Lawrence & Ken Fields & Paint
Costume Design ...... Katrina Menard
Special Thanks
Lydia Howard Catherine Guidry Amy Barrett
Tenny Brown Liane Neshat Jenny Box
Susan Lewallen Charlotte Dickson Jeanne Erickson
LeeAnn King Megan Dacus Abi Mason Our Actors Appreciate Your Best Theatre Etiquette
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Directors Note Coppelia has been such a wonderful experience to direct! I have loved being able to bring a classical ballet to life with the help of three amazing choreographers and this dedicated bunch of students! This ballet has challenged me as choreographer, and I know it’s challenged every single student who has been a part of it. Yet, it was amazing to watch the dancers work so hard and take on their roles with grace, while developing a great amount of stamina, poise, a greater understanding of classical ballet. I hope as the audience watches each performance that they understand how much hard work has gone into this and appreciate all of it. Applaud loudly and often, it makes for better dancing! I would also like to say thank you to some special people who have helped make this show what it is. First, to LeeAnn King, thank you for being the best Assistant Director I could have asked for, as well as for all the choreography you did! To Abi Mason, you did so much to turn our dancers into actors as well, and the results speak for themselves in how you did Act II. To Megan Dacus, thank you for Mazurka and The Hours, they’re beautiful, not to mention helping with other aspects of the ballet— both on and off the stage. To Katrina Shaw Menard, your costuming is spot on and you truly captured the character of this classic! To Kristi Pulliam for allowing us to bring a truly classical ballet to life at The Forum. To all the parents who pitched in and lent helping hands wherever they could, we couldn’t have done this without you! And of course, to all the dancers; you have put in so much time and effort, and now, it’s paying off! You are so talented and we are so proud of all of you! You can do anything you put your hearts and minds into!
Break a leg!
Ms. Kaitlyn A Heart for the Arts
Lately I’ve been reading about the great choreographer, Twyla Tharp. She was the oldest of four siblings, born in Indiana. Her family moved to California later, and she didn’t begin formal study in ballet until she was 12. That’s late by the standards of this generation. But in adulthood, Tharp worked with Mikhail Baryshnikov and won a Tony for her work in Movin’ Out, the famous Broadway production featuring music from Billy Joel. In fact, Twyla Tharp actually got her degree in art history. She simply studied dance in her spare time. But boy did she study it. She not only learned technique, and lots of it, she created her own style of dance by combining strict ballet technique with natural movements such as running, walking, and skipping. Tharp’s choreography had a humorous and edgy quality, and she referred to her relaxed style as the “stuffing” of movement phrases, often adding squiggles, shrugged shoulders, little hops, and jumps to conventional dance steps. She worked with classical and pop music, and, as we enjoy the choreography in many ballets today, we see the style that she made famous in everything from musical theatre to Coppelia. Termed “crossover ballet”, this innovative approach in the late 20th Century (about 40 years ago) created a sort of “every man” feel to ballet, perhaps suggesting a simplicity that helped us all believe that we, too, could learn the choreography and be dancers. But, as anyone who has ever taken a ballet technique class knows, it’s a little more difficult than that. Hours, weeks, months, and years go in to training the mind and body to be an accomplished dancer. Learning the correct technique for a tendue alone (pronounced “ton-doo” is the motion of moving the foot out and back) can take hours of training. But to rise to a level of choreography that’s creative, let alone innovative, requires years of study, and, dare I say, training in other arts as well. Diversity in arts education is so important in growing successful artists. In theatre, we refer to thespians being “triple threats” if they can sing well, dance well, and act well. But diversity in the arts can take many shapes. We want to be focused on learning technique in different areas so that young artists can grow over time to develop their own artistic style and even their own unique creativity in later years. Twyla Tharp is one example. Her study in art history no doubt helped to inform her knowledge and ability to create shapes and lines in her choreography. But I also suspect that she didn’t just dabble after class in her study of ballet. She spent hours adjusting her feet, hips, shoulders, chin, and hands to learn the classic techniques she would draw on years later to create the pieces the world acknowledged as great. Twyla may have started late, but there’s no doubt that she was driven to succeed. Her ability to think outside the box came from an appreciation of several different art forms and years of dedication. It’s a lesson in arts education worth revisiting often. With a Heart for the Arts, Kristi Pulliam To purchase tickets for any performance, visit or call the Box
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Dear Coppelia Cast & Crew, It has been wonderful working with you all as we joined together to create this production. Thank you to Kaitlyn and Megan for believing in me. I would like to extend a special thank you to Konor Erickson, my partner-in-crime, as Mazurka Lead, as well as everyone in the Mazurka Corps. You guys are awesome! Ariana Neshat
Dear Ariana, So proud of you as I watch you on stage doing something which is dear to your heart - dancing. I know you have been excited to perform in Coppelia, and the role in which you were cast. Much love, Mom
Chloe, We are so proud of your hard work in Coppelia and as a ballet student! We cant wait to see you perform. All our love, Mom & Dad
Stage Note
Natalie, Watching you dance as Coppelia adds another wonderful ballet performance and family memory for us. We’re proud of your dancing, hard work, & perseverance! All our love, Mom & Dad
Brighton, I am so proud of your hard work and dedication to dance. Love, Mom & Dad
Marlee, We are so proud of your hard work! We love you so much! Mom & Dad
Addie, What an exciting year you have had in ballet! You have already achieved so much We are beyond proud! Love, Mom & Dad
The Foundation of Arts Thanks our 2018-2019 Presenting Sponsors:
Wish List A New Camera Laptop Computer Cyclorama (Newer than 2016) Lights New Stage 2 Moving Head Curtains Spotlights New supply of A New Tap Lumber every 3 floor months for (Studio) shows
Sprung Floor (Activity Room)
Special thanks to
for their donation of several mannequins and props for use in Coppelia.
1804 W Washington Ave, Jonesboro, AR 72401
(870) 935-7860
The Foundation of Arts would like to thank the City of Jonesboro for the use of the Forum Theater.
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Presents
April 27, 2019 7:30pm The Forum Theater 115 E. Monroe Ave Jonesboro, AR 72401 Tickets Available at the Box Office, online, or call (870)935-2726 www.foajonesboro.org FREE Admission