The buzz this week at Cincinnati Ballet: the elaborate, spiffy costumes and set design being leased from Richmond (Va.) Ballet for this weekend's production of Coppelia.

        Even louder is the buzz over Kirk Peterson's choreography for the ballet, which dates back to 1870 and often looks its age. Word is this version is technically challenging for dancers and brand-new to local audiences.

        Mr. Peterson explained his version and answered questions by phone from his American Ballet Theatre office in New York, where he works as ballet master and choreographer.

IF YOU GO

What: Cincinnati Ballet in Coppelia     When: 8 p.m. Friday, 2 and 8 p.m. Saturday, 2 p.m. Sunday     Where: Procter & Gamble Hall, Aronoff Center for the Arts, downtown     Tickets: $7-$49 at the Aronoff and Music Hall box offices, Ticketmaster locations, phone 241-7469 or online at www.ticketmaster.com; group rates of six or more 621-5282.

        Question: Coppelia is not my favorite ballet — it can be long and boring if not done well. How do you make it come alive?

        Answer: Interesting that you would say that. It wasn't my favorite ballet either, and I had no intention of doing it. But there was this wonderful set and costumes at Hartford Ballet (where he was director until his move to American Ballet Theatre), and they asked me to do it as a money-saving production.

        I had danced in the ballet many times myself and had learned some of the old, early technique. That plus my theatrical approach made me think it might be worth an effort.

        Once into it, I realized I was really enjoying it.

        People tend to be bored with the pace of old ballets, so I keep the pace moving. My inspiration comes from the music, and I direct it like a play, making sure there is logic from one scene to another.

        Q: It's a story about a doll that supposedly comes to life — a children's theme. What's in it for grown-ups?

        A: Not much — you have to go to the child within to love it. But a lot of adults love Disney. There's a certain charm and innocence to it.

        If you aren't connected to your childlike side, you're not going to like it. Fairy tales can be presented horribly or with craft and wit and structure.

        Q: How do you update it for today's audiences?

        A: I did the opposite of update — I went to the source and the score. I follow the pace of the music.

        There have been so many American versions that tried to update it. I don't think you're doing Coppelia then. Using a theatrical sensibility makes it interesting for contemporary audiences. In Hartford, the pace worked.

        Q: How important is the score by (French composer) Leo Delibes? (1836-91)

        A: It's very descriptive — he's telling a story even if you just listen and don't have any dancing. It's perfectly wonderful concert music. It has a wonderful romantic sweep to it, particularly in the last act pas de deux.

        Q: This is a story with two main characters, Swanilda and Franz. In many productions, Swanilda seems to get most of the dancing. Is that true in yours?

        A: That's not the case in my production. The second act is mostly Swanilda, but I really wanted to give the other dancers a lot to do. I've done it in the other two acts.

        Part of it was re-establishing some of the old French school. It was written at a time when dancing was quite buoyant with the emphasis on jumps, but jumps that are terre a terre — close to the ground and very quick. I personally think that is the appropriate traditional style.
       

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