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    The Ballet Kids of ‘Midsummer’ Bring Magic to the Bugs

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    There is Oberon, the King of the Fairies, and his beautiful Queen, Titania. Puck, a sprite, works his magic with the occasional unforced error, as mortals and immortals find themselves in a similar predicament: wanting to love. And wanting to be loved. But for all the sparkle of the mythological adults in George Balanchine’s “A Midsummer Night’s Dream,” it’s the kids — 24, plus Titania’s page — that rule this fantastical realm.Enter the Bugs.These young dancers from the School of American Ballet are the heart of New York City Ballet’s production. Technically, they play Fairies and Butterflies, but at City Ballet and its training ground, S.A.B., they are known informally as Bugs. (Perhaps less dignified as far as outdoor creatures go, but cuter.)Madison ArdietThese Bugs are small, exuberant bodies that, at times, scurry across the forest stage, gleaming in the moonlit night. They’re a coalition, a small but mighty squad of fleet-footed girls, ages roughly 10 to 12 — “a wholly unsentimental deployment,” wrote Lincoln Kirstein, who founded the school and company with Balanchine.Balanchine based his ballet more on Felix Mendelssohn’s overture and incidental music for “A Midsummer Night’s Dream,” to which he added additional pieces, than on the Shakespeare comedy. Mendelssohn’s sweeping music also thrills the Bugs no end.It puts the gas in their engines, the quiver in their antennas, the flap in their delicate wings.“You’re not walking down the street anymore,” said Naomi Uetani, 11, with a smile she couldn’t suppress. “I’m in a magical place. I understand ‘Nutcracker’ — yeah, you’re in the candy land, but this is different. The feeling.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Climate Activists Interrupt New York City Ballet Performance

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      Protesters interrupted an all-Balanchine program on the company’s spring season opening night, which coincided this year with Earth Day.A small group of climate change activists interrupted a New York City Ballet performance at the David H. Koch Theater in Lincoln Center on Tuesday, the opening night of the company’s spring season.The protest occurred shortly before 9 p.m., as dancers and orchestra musicians performed Balanchine’s “Tchaikovsky Pas de Deux,” the third ballet on an all-Balanchine program for the opening night, which coincided this year with Earth Day.A woman began yelling from the balcony. Then, she shouted, “We’re in a climate emergency,” and unfurled a banner from a balcony.“Our country has become a fascist regime, and we are enjoying this beauty,” said the protester, according to videos of the incident.The dancers and musicians continued to perform through the demonstration for about five minutes. Some members of the audience booed the protesters and demanded their removal.The curtain came down, an announcer said the show would be paused because of the disruption and security officers removed several protesters from the auditorium. About five minutes later, “Tchaikovsky Pas de Deux” restarted from the beginning and the performance did not face further interruptions, City Ballet said in a statement.Activists had also gathered outside the theater before the performance, holding signs reading “Koch killing the planet” and “No billionaire ballet on Earth Day,” according to photos posted online.The theater is named after David H. Koch, a billionaire who donated vast sums to support the arts but was for some a polarizing figure because of his campaign to counter the science of climate change.The climate advocacy group Extinction Rebellion, which has organized similar protests, said in a social media post Tuesday night that the demonstration was meant to highlight the Koch family’s support for conservative causes and efforts to block policies to fight climate change.The protest follows similar episodes at other high-profile performances. Last year, three climate change protesters disrupted a Broadway performance of “An Enemy of the People,” starring Jeremy Strong. And in 2023, climate activists interrupted a performance of Wagner’s “Tannhäuser” at the Metropolitan Opera. A protester shouted “The spring is tainted,” and dropped a banner that read “No Opera on a Dead Planet.” More

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      Mira Nadon, a Once-in-a-Generation Dancer at City Ballet

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      Mira Nadon, the rising New York City Ballet principal, is coming off her best season yet. And it’s only the beginning.Mira Nadon was 5 when she took her first ballet class. It was pre-ballet, which meant running around the studio, maybe getting a shot at fluttering like a butterfly. This was not for her.When she found out that students began proper training at 6, Nadon laid it on the line: “I told my mom, ‘This isn’t serious,’” she said. “‘I’m just going to wait till I’m 6.’”Even then Nadon was levelheaded and unflappable. Now, at just 23, she is a principal dancer with New York City Ballet, approaching the close of a momentous season at Lincoln Center, where her versatility, artistry and jaw-dropping abandon have made her seem like a ballerina superhero. This week, she returns to the role of Helena, the rejected young woman determined to win her lover back in George Balanchine’s “A Midsummer Night’s Dream.” An affinity for drama is in her bones, but something else makes Nadon a rarity: humor.Nadon, the first Asian American female principal dancer at City Ballet, is a special, once-in-a-generation kind of dancer. Nadon can flip among many sides of herself — secretive, seductive, funny, serene. And she lives on the edge, with rapid shifts from romantic elegance to ferocious force. A principal since 2023, Nadon still has raw moments, but so much is starting to click: Her feet are more precise, her partnering more secure.Nadon in Pam Tanowitz’s “Gustave Le Gray No. 1.” “She doesn’t dance at you, she draws the audience in, and that’s her power,” Tanowitz said. “It’s almost like she’s letting us in on this intimate part of herself.”Erin Baiano“To watch her grow — and it’s not been very long — has been tremendous,” Wendy Whelan, the company’s associate artistic director, said. “It’s fast and big and just blossoming.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More