Coppelia

DePrince seemingly knew no bounds on stage as she executed pieces — from ballet classics including “Don Quixote,” “Swan Lake” and “Coppélia” to George Balanchine‘s “Who Cares” and “Jewels” — with undeniable grace, strength and precision.

“Coppelia” is the last, exuberant gasp of 19th-century ballet Romanticism, that moment when the idea of the ballerina as a weightless, ethereal being, poised on the tips of her toes, became central to classical dance.

She doesn’t pout at her fiancé Franz’s infatuation with the beautiful Coppelia, the enigmatic figure who turns out to be a mechanical doll, created by the eccentric, sinister Dr. Coppelius.

But the heroine of “Coppelia” isn’t anything like the unattainable sylph of “La Sylphide” or the vaporous Wili of “Giselle.”

Maybe perform in productions of Giselle or Coppelia or Don Quixote.