“Flight,” choreographed in 2012, follows a tradition of cello-scored solos—José Limón’s 1961 “Sonata for Two Cellos,” comes to mind. Herman Cornejo moves deliberately and almost animal-like, with a slinking quality, around a square of light. Much of his attention is concentrated in his arms and torso. In the second movement of the work, he picks up the pace, moving from one side of the stage to the other in sequences of turns and battements; a few pitched-forward arabesques are especially of note.

Though Cornejo, with his fully embodied stage presence, is well-suited to this solo, the work itself is not particularly distinct, especially with its Bach cello suite score. It feels like something we’ve seen before, even if it is a company premiere.

We have certainly seen “The Dream,” before—most recently in ABT’s fall 2023 season—but its return is welcome. It’s a delightful little one-act with ample character performances (Courtney Shealy is a particularly comic Helena) and a strong ensemble composed of Titania’s cohort of fairies. Daniel Camargo is a refined Oberon, with a light touch to his jumps and turns, while Catherine Hurlin is a sparkling Titania, effervescent and charming in her overall ethos, while her technique is spotless. She can throw herself into a sweeping arabesque with abandon.

It’s little surprise, though, that Jake Roxander, in his second turn as Puck, is the standout. He moves with razor-edged precision and leans into the comedy of his role, throwing up his hands in a shrug upon each twist of trouble. His power as a technician cannot be overstated; I’m not sure I’ve ever seen a gargouillade so well-articulated. Still, what’s most thrilling to watch is how Roxander increasingly takes risks in his roles, with his acting and the occasional exaggeration of character. This is the space in which artistry really develops, and we’re lucky to watch it happen.