A Midsummer Night's Dream Pacific Northwest Ballet Cultural Centre Grand Theatre Ends tonight 'IT is really impossible to dance Shakespeare,' said legendary choreographer George Balanchine, before proving himself wrong by creating A Midsummer Night's Dream. It is a task only a master like Balanchine could have accomplished - few could manage to find an equivalent for the Bard's prose. Despite Balanchine's general disdain for story ballets, this two-act work remains among his most delightful and endearing. And the Pacific Northwest Ballet, one of America's most impressive new companies, certainly does it justice. From the curtain's rise, we are transported into a magical midnight glade, where the familiar tale of befuddled love and bewitched trysts unfolds. The sets are a delight: huge gnarled trees loom ominously, populated by giant frogs and spiders, while tiny fairies run riot amid a profusion of oversized blooms. Even more beguiling than this enchanted forest is the dancing. Balanchine pulls out all the stops with pas de deux after exquisite pas de deux, now riotous, now delicate, and always, at the core, celebrating love in its myriad shapes and forms. Seth Belliston as Puck stands out - nimble of foot and, well, puckish of face, he darts and prances about, making a mess of Oberon the fairy king's best-laid plans. Titania's whimsical pas de deux with the donkey-headed Bottom proved popular and far from mechanical. Lisa Apple and Nicholas Ade managed to milk plenty of giggles without going over the top. Paul Gibson puts in an elegant if somewhat restrained turn as Oberon. And worth a mention for her incredibly loose limbs and whiplash fouettes is Kimberly Davey as Hippolyta, Queen of the Amazons. A highlight of second act is the pas de deux by Patricia Barker and Jeffrey Stanton. Tender, lyrical and most assuredly the stuff of midsummer night's dreams.