A Midsummer Night's Dream: Ancient Echoes, Enchanted Forests, and One of Staatsballett Berlin's Finest Productions

Edward Clug's A Midsummer Night's Dream is undoubtedly one of the most compelling productions to have entered the Staatsballett Berlin repertoire in recent seasons. Milko Lazar's percussive score and Clug's distinctive movement vocabulary evoke the spirit of antiquity, recalling an era when rhythmic percussion and expressive physicality formed the essence of ritual and dance.

The production becomes truly mesmerizing once night falls. At this point, the choreography takes on an almost hypnotic quality, perfectly conveying the surreal atmosphere of Shakespeare's enchanted world. This is especially evident in Puck, brilliantly portrayed by Michelle Willems, whose exceptional physicality, effortless agility, and playful imagination make the character one of the evening's undeniable highlights.

In my view, Titania and Oberon are not the true protagonists of this production, even though the entire story revolves around their relationship. Martin ten Kortenaar brings quiet authority and elegance to Oberon, while Polina Semionova's Titania captivates with her refined lines, luminous stage presence, and remarkable artistry. Their partnership provides the dramatic framework of the ballet without dominating its emotional center.

One of the greatest pleasures of the evening is the delightful comic episode performed by the Mechanicals. Alexey Orlenco is wonderfully entertaining as Thisbe, and the famous "play within the play," in which Thisbe dies after encountering the lion, becomes a masterpiece of theatrical comedy. Clug stages the scene with wit, gentle irony, and impeccable comic timing, creating laughter that feels genuinely warm rather than exaggerated.

The corps de ballet deserves special recognition for bringing the enchanted forest vividly to life. The dancers transform into enormous monstera plants and other fantastical vegetation, moving organically across the stage and gradually drawing the characters into their mysterious world. Equally memorable are the forest creatures—a butterfly, a moth, a beetle, and, most spectacularly, a giant praying mantis manipulated by a ballerina dancing en pointe. Together they create a magical landscape in which the boundaries between humans and nature dissolve completely.

A Midsummer Night's Dream is a production that appeals equally to adults and children. Although the ballet unfolds within a single scenic environment, the set is constantly transformed through imaginative lighting, stagecraft, and subtle changes in perspective. The same elements acquire entirely new meanings from scene to scene, ensuring that the visual experience remains fresh and captivating throughout the performance.

Another distinctive feature of Clug's choreography is his deliberate departure from traditional classical vocabulary. For much of the ballet, the dancers perform in soft shoes or barefoot rather than on pointe, emphasizing grounded movement, fluidity, and natural physical expression. This contemporary movement language blends seamlessly with the dreamlike atmosphere of the production.

I first saw this ballet a year ago and recently decided to return to it to see whether my initial impression would remain as strong. It did. The production is just as captivating as I remembered. It continually invites the audience to wonder what will happen next, encouraging complete immersion in Clug's magical universe where reality and fantasy merge effortlessly.

That, perhaps, is the ballet's greatest achievement. A Midsummer Night's Dream is not merely a production to be seen once — it is one to revisit, discovering new details and nuances with every viewing. And perhaps its most rewarding quality is the sense of warmth and fulfillment it leaves behind. After all the misunderstandings, transformations, and magical adventures, the story concludes on a joyful note, allowing the audience to leave the theatre with the comforting feeling that, for a little while at least, the world has become a happier place.

Text: Julia Pneva

Photo: Yan Revazov, Staatsballett Berlin