Constance Devernay-Laurence in Coppelia. Photo: Andy Ross.

‘Coppélia’ is a late 19th century comic ballet, choreographed originally by Saint-Léon and then Petipa, and set to the music of Delibes. Its narrative derives from a Hoffmann short story in which a reclusive inventor crafts a dancing doll so lifelike that a village youth falls madly in love with it.

I have seen the work a few times and come to the conclusion that it is a somewhat silly museum piece.

I recently attended a performance by Scottish Ballet of its new version of ‘Coppélia’, choreographed by Morgann Runacre-Temple and Jessica Wright (Sadler’s Wells, London). The drama has been relocated to Silicon Valley and the inventor is now a black polo-neck wearing tech titan. In his NuLife lab he is creating Coppélia, an AI woman that he hopes to transform into a cyborg. A young man becomes besotted with the digital automaton.

With its futuristic candy-coloured costumes, suggestive of ‘Metropolis’; its athletic bobbed dancers; and its elegant integration of screen technology, this new ‘Coppélia’ is smart, slick and dazzling. In rebooting the ballet, the dance-makers have successfully embraced themes of tech megalomania; clones and the metaverse; the nature of 21st century relationships. ‘Coppélia’ has been reborn.

I can think of quite a few theatre productions I’ve seen over the years that have relocated or reimagined a traditional story or historic work, and in so doing have transformed it into something completely contemporary.

When Shakespeare’s ‘Henry V’ was transposed to the Iraq War, the ethical issues of the conflict seemed terribly real. When Macbeth was recast as a 20th century African warlord, the fierce brutality at the heart of the drama struck home. When Hamlet and Ophelia were presented as gaunt student goths, the audience was prompted properly to consider their fragile youth.

Bruno Micchiardi as Dr Coppelius. Photo: Andy Ross

In 2018 director Marianne Elliott swapped the gender of the main character in Stephen Sondheim’s 1970 musical ‘Company.’ Whereas the traditional male lead in this role can come across as careless and complacent, here we were presented with a successful woman in her mid-30s, unable to commit to a steady relationship and confronted with a ticking clock. It was much more interesting.

'Success is a journey, not a destination. It requires constant effort, vigilance and re-evaluation.’
Mark Twain

Of course advertising campaigns have often drawn on established cultural motifs to achieve immediate recognition and shared reference points.

Back in the day my own Agency, BBH, produced a Lynx/Axe ad that reimagined the fantasy film ‘One Million Years BC’; an Audi ad that channelled Jimi Hendrix; and a Boddington’s ad that mimicked Rene Magritte. And more besides.

The most interesting cultural appropriations not only borrowed from a source story. At the same time they introduced some new interpretation of that tale and integrated the brand in a compelling way.

In 1992 BBH shot a Levi’s ad based on the Cinderella myth. In this version the protagonist in search for love is not a male prince, but a female heroine. She must find the one man who can fit into a discarded pair of worn 501s. Because ‘no two pairs are the same.’

In 2012 The Guardian employed the fable of the Three Little Pigs as a platform to showcase the power of live, participative news reporting; of expert, campaigning journalism across multiple platforms.

At their best commercial reboots, relocations and reimaginings both borrow from, and invest in, the original myths and legends. They make both the story and the brand more relevant.

Inevitably not every new theatrical interpretation I’ve seen has been entirely successful.

One summer my wife and I treated ourselves to some country house opera, booking to see 'La Bohème' at Glyndebourne. As we drove down through rural Sussex, we put behind us the stress, grit and grime of urban life. It was a proper escape. However, this production of the Puccini classic transposed its impoverished artists from the Latin Quarter of 1840s Paris to the hipster scene of present day Hoxton in East London. This was indeed a sound directorial decision. Sadly we’d driven three hours to arrive at a familiar place just a mile from home.

'Back to life, back to the present time,
Back from a fantasy.
Tell me now, take the initiative.
I'll leave it in your hands, until you're ready.
How ever do you want me.
How ever do you need me.’

Soul II Soul, 'Back to Life (However Do You Want Me)’ ( Jazzie B, C Wheeler, N Hooper, S Law)

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