David Walker’s off-the-shoulder forest green tutu drapes down her shoulders like liquid emerald and when she melts out of a balance, it appears as if she might just wash away, a victim of her own beauty. The sharpness is there too. Titania is a character with bite and Trenary shows it in blender-fast pencil turns and abrasive fairy flicks. She even bowed as Titania after a regal pas de deux with her King, Daniel Camargo, lifting her right arm high above her head and dipping into the earth, sensual and majestic.
Camargo is a multi-faceted Oberon: reserved, calculating, and romantic.
For both Puck and Oberon, the culmination is the scherzo section of Felix Mendelsohn’s score. Hummingbird fast at times, the dancers move briskly but certainly not small. Camargo is up to the task, using the ground to his advantage in the fast footwork.
Puck, Oberon’s foolish side kick, is danced by Elwince Magbitang, a young corps de ballet dancer who met the challenge of Puck with spirit, an impressive hovering jump, and multiple turns. A debut role for him as well as Trenary, and I believe Camargo, I look forward to seeing them grow in roles so well-suited for them.
We can’t talk about The Dream without talking about the donkey. Adorably clumsy, Blaine Hoven balances on “hooves” (black pointe shoes) while wearing a giant donkey head and partnering Titania. Pointe shoes aren’t traditionally part of a male dancer’s repertoire, but Hoven was able to strike harmony between defined and blundering.
Ashton’s work has an Art Deco feel to it, absolutely something from the past but with lines of modernity. You see it in Titania’s shimmying shoulders, Oberon’s wicked jumps, the fairy corps’ zig zagging patterns. A lovely mini story ballet, I hope to see more of it from ABT and perhaps next time with a longer run and opportunity for more debuts.