Balanchine’s A Midsummer’s Night Dream is always the happiest way to end a long NYCB season. It’s pretty much cast-proof. Never seen a bad performance and it always sells out. Last night, the auditorium was filled to the fifth ring.
I chose last night’s performance to review because it had several debuts and performances I had not seen. The first interpretation I was curious about was Joseph Gordon’s Oberon. He made his debut in this several years ago, but every time I had a ticket to see his Oberon, he was injured. Gordon is taller than most Oberons. In the Scherzo, his jumps were slightly lower than what audiences usually see. However, his footwork and petit allegro was extremely clean and crisp.
The other dancer I was curious about was Ashley Bouder as Helena. Bouder has not danced much since the pandemic. Injuries, plus a highly fractious relationship with management, all documented on her social media, have made her appearances extremely rare. Helena is a distinct step down from her usual repertoire. Helena is the sadder, more passive Athenian lover, and unlike Hermia doesn’t have a distinct solo.
So how did she dance? Bouder actually made more of the role in the first act than most dancers I’ve seen. Her Helena was spirited and spunky. Her catfight with Hermia was funny. In the second act (the wedding), Helena is now in a tutu and dances more conventionally classical steps. Here is where Bouder struggled. You could see her hands shaking constantly, despite Davide Riccardo’s (Demetrius) sensitive partnering. She has lost flexibility both in her back and hips. While there has been conflict with the management, what’s more worrying is the loss of her once pristine technique.
In the second act divertissement, Chun Wai Chan also made a debut. Megan Fairchild was his partner. It was a glorious debut. Chan was sensitive, elegant, and partnered so beautifully that he brought out something new in Megan Fairchild. Fairchild is an odd fit for the divertissement. She is an allegro dancer and this is all adagio. Megan is strong, this is ethereal and dreamy. But last night, Fairchild was more lyrical than I’ve ever seen her.
The other roles were mixed. The great: Roman Mejia’s Puck. It’s already a classic interpretation. He has the impishness, the humor, and (of course) the space-devouring jumps. Harrison Coll and Davide Riccardo deserve flowers for how funny and goofy they made the male half of the Athenian lovers. I often think of these roles as throwaway roles. Not last night.
The good: Unity Phelan (Titania) was funny and sweet, and her arms absolutely lovely. Her duet with Bottom (Lars Nelson) was heartwarming and touching. Also, she has obviously worked hard on those sissones, because they really flew last night. Phelan has really grown in the role since I saw her a few years ago. Megan LeCrone has not danced much this season but her Hippolyta was still commanding and her fouettés impressive.
The mid: Erica Pereira made almost no impression as Hermia. Her solo came and went. She’s such a technically assured dancer, but her characterization leaves a lot to be desired. Olivia MacKinnon danced the steps well, but was the most joyless Butterfly I’ve ever seen. MacKinnon is a dancer of obvious beauty and talent, but she often dances like she’s doing her taxes.
Slight weaknesses in the cast do not matter, however. Whenever the little bugs (adorable SAB students) come onstage to start the ballet, the audience always gives a happy sigh. Balanchine’s A Midsummer’s Night Dream (like his Nutcracker) never goes out of season.
