NYC Ballet 2025: A Midsummer Night’s Dream
Sara Mearns as Titania with the Company in George Balanchine’s A Midsummer Night’s Dream. Photo credit: Erin Baian
On May 27, 2025, New York City Ballet raised the curtain on this season’s run of 'A Midsummer Night's Dream.' Balanchine’s take on the Shakespeare tale retains an abundant amount of charm and magic thanks to the artistic talents of the dancers and orchestra.
Leading the musicians this evening was the stalwart conductor Andrew Litton, whose attentiveness to Mendelssohn’s score remains a treat to hear expressed through the variety of motifs and ideas which ranged from whimsical to truly enchanted. This work also features brief instances of musica sacra which provide a sufficient magical charge to their scenes thanks to the soprano-alto harmonies, while celebrating some of Shakespeare’s most charming poetry.
Isabella LaFreniere as Helena in George Balanchine’s A Midsummer Night’s Dream. Photo credit: Erin Baian
As the courtiers of Theseus, Harrison Coll and Ashley Laracey were a frequently-cute couple as Lysander and Hermia, whereas Jules Mabie and Isabella LaFreniere often brought a fine sense of drama as Demetrius and Helena. After showing their respective dynamics before the eyes of Oberon, the inversion brought by the magical rose gave them ample opportunity to flirt and squabble amongst themselves as the balance of the love quadrangle shifted constantly, with the four able to navigate these changes to splendid effect.
While ably handling the comedic and narrative aspects of their roles, the four also excelled in the act 2 festivities where the numbers stressed energy and technicality as they flowed in and out of the duke’s entourage to display their own phrases of varied expressions.
Roman Mejia as Oberon in George Balanchine’s A Midsummer Night’s Dream. Photo credit: Erin Baiano
Dancing the role of Oberon, Roman Mejia proved himself a most capable Fairy King. He often toured the staged with grace and power demonstrated by the control of his leaps during his ensemble number among his butterflies and fairies, where swiftly-chained hops transitioned into speedy pirouettes, floating grand jetés, and more. His earlier interactions with Titania showed a somewhat-selfish flair as he vied for her smallest attendant, while displaying a more sympathetic side in trying to aid the lovesick Helena, with Mejia fleshing out both extremes with great flair.
In the role of Puck, Taylor Stanley was a great source of comedy and energy as he set to Oberon’s commands to the best of his ability. Stanley truly shone through the character dances and the ongoing struggle to set the lovers aright, his exasperation never failing to draw laughter as it results in a further complication. These frantic moments were beautifully contrasted by the way he ended his scenes with controlled beautiful tableauxs backed by the work’s recurring theme, which seemed to draw its preceding events back into itself as part of the ongoing spell.
Opposite Oberon was Sara Mearns as Titania, who made a charming showing as the queen of the fairies. Her earlier appearance in the glen saw her explore her character with an elegant touch, soon borne aloft by her page, danced by Taylor Kim, for a series for carries which evoked a weightless air about her. These qualities were taken to wonderfully-endearing heights during her time with Preston Chamblee’s Bottom, as she lavished him with affection through their comedic pas de deux in what was undoubtedly a highlight of the evening.
Tiler Peck and Tyler Angle in George Balanchine’s A Midsummer Night’s Dream. Photo credit: Erin Baiano
Dancing the second act divertissiment, principals Tiler Peck and Tyler Angle were a sensational pairing as they emerged from the corps with brief phrases before outlining the andante and ensuing sections with gorgeous technicality. Their sense of chemistry was shown early on through their delicate promenades and the soft lifts which evoked the sense of a gentle stroll as the two worked towards an extended cambré as Peck rolled back into Angle's embrace with stunning delicacy to close this breathtaking moment before launching into the rest of the sections.
The expressive talents of the dancers were on full display throughout the night. Moments such as Puck's antics with the lovers, or Oberon finally receiving the boy to hold his cape landed with great humor thanks to the dancers' ability to draw us into their respective struggles, balancing comedy with great sentiment to bring the best out of the other. Balanchine’s attention to the corps was also highlighted through their nearly-constant activity. From the buzzing of the forest's woodland critters, to the host of fairies in Titania's glen, or the intensity of Hippolyta's hounds, the dancers imbued their respective scenes with vitality and an often-magical touch. Couple all these qualities with the natural beauty of David Hays’ set and it’s easy to see why the audience was so easily transported into the unfolding work.
Naomi Corti as Hippolyta in George Balanchine’s A Midsummer Night’s Dream. Photo credit: Erin Baiano
As New York City Ballet readies to close their Spring season and return to Lincoln Center in September, they made sure to do so in a marvelous fashion that lovers of dance won’t be quick to forget.
-written by Logan Martell.