Coppelia truly holds charms for all ages Saturday, March 19, 2005 By ROY C. DICKS, Correspondent Carolina Ballet's "Coppelia" was grandly impressive and delightfully charming in its first production 4 1/2 years ago. Incredibly, its return is even more charming and as close to perfection as any production is likely to get. This is ballet at its most traditional and most accessible. The story of bride-to-be Swanhilda and her conceited intended Franz, though set in central Europe two centuries ago, has contemporary appeal in its depiction of lovers' spats and jealousies. Franz's attraction to the life-size mechanical doll Coppelia and Swanhilda's subsequent trick in pretending to be the object of his new affection are the stuff of fairy tales, yet the timeless vagaries of young love are easily recognized. "Coppelia" employs all the usual elements of the full-length story ballet. The dancers use mimed gestures to convey their conversations, lovers express their feelings in extended pas de deux, and villagers celebrate the wedding with peasant dances and showy individual turns. Yet here, especially with the genuine humor that is all but unique for the genre, none of it seems foreign or old-fashioned. Parents can rightly assume that most children will enjoy this ballet. There's the scary workshop where Dr. Coppelius makes his wind-up contraptions and his hilarious reactions as the pretend-Coppelia takes on more life than he bargains for. There are the colorful storybook settings and costumes and the live pony for the lovers' wedding cart. But the grown-ups get the best part of the deal. They will appreciate the detailed and difficult choreography that Robert Weiss, Carolina Ballet's artistic director, demands from his dancers and the eye-popping bravura they display as they execute it. They will marvel at the dancers' subtle expression of character and their ability to play humor without excessive cuteness or exaggeration. Carolina Ballet's longtime followers will note several dancers' rise from the ranks to become new leads and soloists. Maximilien Baud, Rudy Candia and Sergey Kheylik get laughs as three drunken villagers in their off-balance leaps and pratfalls. Attila Bongar's noble elegance and sure steps in the "Goodness" portion of the wedding celebration are nicely matched by the airy grace of partner Hong Yang. Familiar company members add to the high standards this production maintains, including Christopher Rudd's showy but beautifully controlled first act mazurka, Heather Eberhardt's ethereal third-act "Prayer" segment, and Marin Boieru's lovably cranky Dr. Coppelius. As Franz, Cyrille de la Barre again proves capable of taking on the derring-do of a lead male role with confident athleticism and winning personality. Highest praise must be reserved, however, for Lilyan Vigo as Swanhilda. Vigo has been a joy to watch over the year, but with this performance, a new star is born. Her total control of every turn and extension, her breathtaking balance and her winning radiance of character simply astonish. Weiss deserves every accolade for making such a huge undertaking come off so smoothly and professionally. The tight economy has forced him to use recorded music for Leo Delibes' gorgeous melodies to accompany his dancers. Few who attend this marvelous production will leave without wanting to do something to turn this situation around.