A beautiful fairy princess falls in love with a donkey who prefers to chew on grass instead of returning her affection. We've all been there. It can be a bit depressing to watch stories of unrequited love unfold onstage, but Shakespeare's "A Midsummer Night's Dream" includes brilliant comedic twists and heavy social commentary that aren't lost when the story is presented through dance rather than script. Pacific Northwest Ballet's current production of "Midsummer," in the company's repertoire since 1997, delivers a solid storytelling experience with fast paced choreography.
The beautifully detailed sets from the legendary Martin Pakledinaz are intentionally reminiscent of a Pacific Northwest Forest scene--giant pinecones hover over the stage while evergreens hang in the background and a giant toadstool and buggy-eyed frog bookend the dancers in selected scenes. On opening night, the always lovely and technically perfect Laura Tisserand danced a charming Titania and a stern-faced Kyle Davis performed a strong and convincing Oberon. But Jonathan Porretta's Puck was the highlight of the evening, nailing that fine art of comedic timing and jumping many more feet into the air than one would expect of someone who recently sustained a torn achilles tendon. Porretta will retire from PNB at the end of this season and although dancer retirements are inevitable and always a bit sad, this one's really gonna sting. Porretta is that rare ballet dancer whose artistic mastery and technical proficiency seem to be matched by a deep spiritual maturity that makes his performances particularly memorable.
Other notable performances* this evening include soloist Ezra Thomson's Bottom: the donkey-headed tailor doomed to fall under Titania's lustful gaze. Thomson has an almost eerie ability to communicate story and emotion with his body, he can write an entire character with the sweep of an arm and performs a solid duet with Tisserand even though it looks like he can barely see out of the donkey mask. Angelica Generosa molds gracefully into almost any role she's given, but fairy flitting and quick, pristine footwork are among her most noticeable masteries. Additionally, soloist Elle Macy just keeps getting stronger and more expressive and shone in her solo as Hippolyta, Queen of the Amazons, although her pas de deux with Dylan Wald's Theseus lacked the same energy and flow as her mile-high leaps and killer fouettés. And the bugs! 25 Pacific Northwest Ballet students in charming little antennae danced in a variety of formations throughout the whole ballet with perfect timing and coordination that rivaled a professional corps de ballet. Go Bugs!
I'm not usually a big fan of the pomp of classical story ballets, but according to the program notes Balanchine wasn't super keen on it, either. Jeanie Thomas' reprinted 1997 program notes talks about how Balanchine eschewed "the excesses" of traditional story ballets and opted to choreograph "Midsummer" with fast-paced mime and exacting choreography rather the hallmark slow, sometimes painfully boring plot-setting scenes common to ballets like "Swan Lake" and "The Nutcracker." Instead, the flow of PNB's "Midsummer" has the same feel as the flitting fairies that decorate both acts, as jovial as you'd expect your Shakespeare to be and as filled with steamy, unpredictable encounters as Burning Man at sunrise.
Pacific Northwest Ballet's Midsummer Night's Dream runs through April 19-21, info here https://www.pnb.org/season/midsummer/#casting
*I didn't talk about Lesley Rausch's Divertissement pas with Jerome Tisserand because I ran out of time--there are two children climbing up my back as I type this--but Rausch's performance Friday night was breathtaking. See the brilliant Marcie Sillman's fine review of Rausch's performance here.