The New York City Ballet performed "A Midsummer Night's Dream" at the Kennedy Center this week as part of the Center's "Shakespeare in Washington" series, which runs through July.
The plot follows the travails of four mortal lovers who happen to cross paths on their way to true love in an enchanted forest. The Forest rulers, King Oberon and Queen Titania, must also learn to love each other despite petty differences. The fairy king and queen play their own share of tricks, casting spells on the lovers and confusing the four-way love story. The adventure that ensues is traditional Shakespearean comedy.
As the red curtain rose in the Opera House on Thursday, the stage transformed into a dense, enchanted forest with glistening life-sized flora and fauna, the enterprise of scenery designer David Hays. Almost immediately the audience is introduced to Titania and Oberon, played by Sofiane Sylve and Joaquin De Luz. Puck, the mischief-making hobgoblin, then runs across the stage.
Sylve, from Nice, joined the ballet as a principal in 2003. Her performance in this ballet, however, was less than impressive for a principal dancer. She was off-tempo and her movements were forced and less than graceful. The corps dancers that acted as her fairies easily out-danced her.
On the other hand, De Luz portrayed Oberon with athleticism. His strength was apparent in the leaps, jumps and lifts, which he executed with ease. Hailing from Madrid, De Luz joined the ballet in 2003 and has been a principal since 2005.
Souzzi's performance as Puck stole the show. Although Souzzi had perfect technique and a deft ability for turns, his expressions were especially engaging. Souzzi gestured through his face and body, casting spells on the audience and the confused mortals on stage. Souzzi was apprenticed by the ballet in 1999 and has been a member of the corps since 2000.
The dancers who portrayed mortals Helena, Hermia, Lysander and Demetrius were average at best. They were able to easily complete the choreography, but they lacked emotion when compared to Souzzi.
The production's costume design was outstanding, especially the costumes of the four lovers. Although the wardrobe's color scheme was relatively simple, it kept the audience from being confused about who was in love.
Hermia and Lysander wore aqua costumes. But to explain the complicated love square, Lysander wore berry tights to allow the audience to follow the scene when he is tricked into loving Helena. Helena and Demetrius wore berry costumes. In a similar fashion, Demetrius wears aqua tights so the audience could follow his crush on Hermia.
The corps of the ballet, the fairy children, consisted of students from the D.C. area. None appeared to be older than 13, but they conducted themselves professionally and performed with na've excitement. This combination exhibited their natural and spectacular talent.
The ballet ran approximately one hour and 15 minutes, with no intermission. Unfortunately, the finale seemed rushed and the audience was puzzled that the dream ended so abruptly.
The performance did not receive a standing ovation, a rare occasion at the Kennedy Center, but Souzzi and the local children deserved it.
The New York City Ballet first debuted the Shakespearean adaptation of "A Midsummer Night's Dream" on Jan. 17, 1962. It features a score by Felix Mendelssohn and was originally choreographed by the legendary George Balanchine.
