Choreography: Maxine Mahan
Music: Felix Mendelssohn
Set Design: William Morse, Lighting Design: Eric Keel, Costume Design: Ruth Small, Robert Eaton, Maxine Mahon

Dancers: Stanko Milov (Theseus); Jennifer Curry (Hippolyta); Kristie Cordle (Titania); Evgeniy Lushkin (Oberon); Lauren McKay (Puck).

by: Anjuli Bai

This three act ballet came from a hand that was determined that no one in the audience would think that the production shirked on providing a full evening of dance - earning every penny of the ticket price. This "Dream" was not at all the distillation provided by an Ashton or a Balanchine - this was a full throated enterprise. But a full throat can also mean time too long spent at the repast.

As wave after wave of insect fauna came on stage (Ladybugs, Bumblebees, Butterflies, Dragonflies, Caterpillars) to join the main characters as well as Fairies, Elves, a Changleling Child, Titania's Handmaidens, assorted human beings such as Players and Huntsmen plus a Cricket, the stage was filled with swirling color. It was overfilled. The dream aspect was overwhelmed. Most of the insects were young students from the school and the lines between school recital and company performance began to blur.

It is certainly true that youngsters need stage time but California Ballet needs to decide whether its productions are sumptuous school recitals with an overlay of company members carrying the main parts or is it truly a company only drawing upon the youngsters when absolutely necessary, not simply to give them some performing experience. It does occur to the observer that the more of the school that is used, the more moms, dads, and grandparents (as well as an occasional aunt and uncle) will buy tickets to attend. But, one hesitates to come to that conclusion.

I don't want to give the impression that this was an unworthy effort - it certainly was well rehearsed, smoothly run, and a very large undertaking in every way. However, a dream if over wrought loses its essential quality. The joke of Puck putting the potion in the wrong eyes, or the eyes upon wakening seeing the wrong person, was done and over done.

This brings me to Puck. I wasn't sure that I would like this role danced by a woman. The role seems to need the weightiness that a male automatically adds whilst still being, well, puckish. That weightiness contrasted to the imp quality deepens the characterization. A woman might be seen as flighty or fey rather than mischievous. However, Lauren McKay won me over; she married both the dance and character qualities of the role. Her portrayal never flagged and was quite detailed in conception.

Oscar Burciaga as Bottom brings both dramatic and dance qualities to the role. Bottom is a sympathetic character and it was this ingredient that was missing. Burciaga chose to give him humor instead. The cricket: can't leave out David Alvarez's Cricket. He almost stole the first act. A future talent to watch, no doubt.

Technically the ensemble dancing on pointe tended to be a bit ragged at times. They moved together, but in static moments such as a balance en point in arabesque, frayed edges were evident. They didn't all hit the balance simultaneously - it took a couple of counts. It's those static moments that are the telltale of ensemble work. The checkpoints. Preparations were telegraphed if not entirely in the body, then often in the face. Dreams tend to flow, and the choreography designed for the necessary exigencies of the technical level of the dancers - didn't. If one is going to use young student dancers then the choreography must necessarily be consistent with their abilities which inhibit the choreographer's choices. And, crosses the line from company performance to school recital.

The sets were a credit to the production: properly verdant without interfering with the dance. Swarms of insects came up out of a leafy orchestra pit (the music was on tape) and climbed stairs to the sides of the stage. While this was innovative - insects coming out of the earth - watching them climb stairs (with the necessary care to life, limb and costume) it rather interrupted the magical quality of a dreamy forest.

Costuming was altogether well done: colorful and appropriate. However, turned up elf shoes was much too awkward. Long pointy elf feet: yes. Turned up toes that inhibited movement: not successful. I never thought of elves as awkward creatures. But I loved the constant flow of color. Too many dance companies seem to be opting for neutral or faux artsy "earth tones." Thankfully, California Ballet put on a show of wonderful color: blues, lavender, bright red, yellow. This dream was certainly in brilliant hues. And the costumes were innovative. However, the long bright red gowns for the female wedding guests seem from another age: more Italian Renaissance than a dream in midsummer might indicate.

Jennifer Curry and Stanko Milov are obviously a cut above the company around them. She is a pleasure to watch. When her port de bras emanate from her spine and reach outward, she is even more of a pleasure. Milov is the tall partner she needs. His strength adds a layer of fragility to her. While Milov has little natural ballon he is not earthbound. His force carries him upward.

To sum: this production overplays its hand. It needs editing, it needs to pick and chose its points, and it needs to consider artistic goals rather than simply supplying a full plate. Too crowded a stage, too many insects. There was in fact no emotional impact. Art evokes a response and instead I kept saying to myself: yes, they are well rehearsed. Yes, this is running smoothly. Yes, that dance has cohesion. But, no, I don't really "feel" anything. Emotional response and impact need to be considered.