Lord, what fools these dancers be!

In the first act of Shakespeare’s “A Midsummer Night’s Dream,” Lysander tells Hermia, “The course of true love never did run smooth.” Likewise, the course towards a stunning performance of the ballet adapted from this play is full of potholes and detours.

One of the most troublesome aspects of the ballet is that the dancers involved must force themselves into the routine of George Balanchine’s preexisting choreography, regardless of their artistic preferences. “A Midsummer Night’s Dream” is not only difficultly choreographed, but also requires more theatrics on the part of its dancers than usual ballets.

Despite these great challenges, the Boston Ballet’s production, staged by Ballet Mistress Sandra Jennings, provided a night of elegant entertainment—a beautiful ballet for anyone with a sense of humor.

George Balanchine, at eight years old, appeared as an elf in a Russian production of “A Midsummer Night’s Dream.” The experience revealed his early interest in Shakespeare’s great comedy, but it was Felix Mendelssohn’s music that sparked the transformation of the delightful play into a full ballet. In 1962, New York City Ballet premiered “A Midsummer Night’s Dream,” introducing not only the famous play as a new ballet but also the famous dancer, Balanchine, as a new choreographer.

As actors, the Boston Ballet dancers did Shakespeare a disservice; most were rather unassuming as characters. The dancer playing the impish role of Puck, however, shined as a clear exception. Portrayed by Joel Prouty, he was the most vibrant personality on the stage, threading together the story and fixing the audience’s attention on his magical mischievousness.

Thankfully, “A Midsummer Night’s Dream” was sufficiently captivating as a ballet that, despite minimal character interpretation, the dancers excelled as masters of their craft. Most impressive were Oberon and Titania, King and Queen of the Faeries.

Reyneris Reyes, as Oberon, was the most powerful dancer of the evening. While his leaps were impressive for their grand size and his turns for their prolonged timing, his complex footwork, though much less noticeable, displayed a flawless execution. Lorna Feijóo, as Titania, complemented the power of Oberon with beautiful lyricism. Despite a slight flaw in the opening lift—perhaps due to opening night nerves—she articulated her character with graceful, beautiful lines.

Surprisingly, the corps gave a stunning performance, particularly in the second act. Clearly well rehearsed and inspired, the corps was adept at ensemble timing and precision—especially during the pirouette sequence in the final moments of the ballet. Also striking was the professionalism of the children who made up the cast of forest insects. Clad with wings and antennae, they were not only adorable but also skillful dancers, executing clean leaps and turns with elegant simplicity.

Martin Pakledinaz, the set and costume designer, excelled in adding to the already fanciful ambiance created by the dancers. The costumes were breathtaking even at a distance, making the imagined world of the ballet come to life before the audience.

As with any large-scale production, the realistic three-dimensionality of the set distinguished it from an amateur effort. From sprouting mushrooms to great, sheer spider webs, the forest setting was fantastic and lush—magical realism for the stage.

Another success of the opening night was Mike Stanley’s work as lighting designer. The attention paid to details in the lighting was impressive. Never was the stage the same color twice in the performance—its hues were constantly changing along with the characters’ moods, in a fantasia of emotions within the forest. The floor was often covered in spots of light, imitating the flood of moonlight flowing through the thick enclosure of trees overhead.

Finally, a sheer curtain with clever lighting suggested a liminal effect at the end of every scene, leaving the audience questioning whether they were still watching the performance or were back to the reality of the Wang Auditorium—just as Shakespeare’s characters question the reality of their own experience in the play.

Balanchine’s “A Midsummer Night’s Dream” interprets a timeless story about the magical power of love through the enchanting power of ballet. The performance asks audiences to step into an alternate reality of comedy and dance. With its talented dancers and extravagant scenery, set to Mendelssohn’s dazzling score, the Boston Ballet conjures a magical performance that will leave audiences thankful for the midwinter night’s dream of a ballet.

—Staff writer Giselle Barcia can be reached at gbarcia@fas.harvard.edu.