G. K. Hunter sees A Midsummer Night's Dream as a dance, or a suite of dances, about the varieties of love:
A Midsummer Night's Dream is best seen, in fact, as a lyric divertissement, or a suite of dances gay, sober, stately, absurd. Shakespeare has lavished his art on the separate excellencies of the different parts, but has not sought to show them growing out of one another in a process analogous to that of symphonic 'development'. The play is centred on Love, but it moves by exposing the varieties of love, rather than working them against one another in a process of argument. This is probably another way of saying that the play contains no personalities, no figures like Beatrice, Rosalind or Olivia, who, being self-aware, are also self-correcting; on the whole the characters remain fixed in their attitudes; those who change, like Demetrius, Lysander and Titania, are lifted bodily, without conflict of characters, and without volition, from one attitude to another. (Hunter 1962: 8-9)
Hunter goes on to point out how few differences there are between the lovers (see for the opposite point of view):
As far as the play is concerned, the lovers are like dancers who change partners in the middle of a figure;the point at which partners are exchanged is determined by the dance, the pattern, and not by the psychological state of the dancers. (Hunter 1962: 9)
The complex and changing patterns of who loves whom (see for instance IV i 161-68) are thus seen as predetermined figures in a dance. Presumably Puck and Oberon are the dance's (slightly muddled) choreographers.
music as a structuralising element