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October 22, 2022


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And well-deserved kudos to the orchestra members and two conductors who handled this brilliant but complex and difficult score with absolute skill and dynamism. One of the reasons (perhaps the most important one) that this ballet is so delightful and successful is because there is absolute synergy between the music and what goes on on-stage. Imagine how boring this could have been if done with a modern, commissioned score.

I went with two friends (one who had never been to the ballet before) last night and had a fantastic time! When Act I ended, we were left with a question: was the entrance of the whipped cream via slide a tribute to Bayadere and the entrance of the shades?

Regardless, the supernumeraries were fantastic! Overall, Act I was a little slow and low on the lighting for my taste, but Act II was so much fun. I did not know what to expect from this ballet but I would be more than happy to see it again.

On the California candy boxes - it seems like this ballet would be such a great family show. There ought to be some sort of collaboration between ABT and a sweets company whenever this production is brought out. I was in the atrium of the Koch Theater and it felt so bare. There could've been a cute cotton candy machine or a pink-themed photo booth. Overall, a really fun evening.

Thank you, Haglund, for appreciating "Whipped Cream" as it deserves to be appreciated. Ratmansky’s and Ryden’s collaboration has wrought a unique work for sustained fun and fantasy; it quickens one’s inner child and demonstrates that the capacity for wonderment is eternal. Allied with Strauss’s inexhaustibly amazing score, "Whipped Cream" machine guns the spectator with joy after joy and with delight after delight until one’s chakras light up like a pinball machine with the gift of uplift. What other composer compares to Richard Strauss’s mastery of the euphoric? Both La Marche and Wilkins excelled themselves conducting this technically complex music; the orchestra played in absolutely world class fashion.

Simkin was his phenomenal self Saturday afternoon, particularly impressive since he danced The Boy the night before. Boylston and Whiteside were sly charm and virtuosity personified as Tea and Coffee—Boylston, who has taken flack for idiosyncratic arms and hands, employed them sculpturally and beautifully. I could not take my eyes off her. I read elsewhere Granlund’s Praline had a burble in one of her variations at her previous performance but she nailed her fouettés Saturday. Jose Sebastian’s Prince Cocoa Saturday also was deft. I have never seen Sunday afternoon’s Tea, Devon Teuscher, give so relaxed and commanding a performance. Zimmi Coker’s incisive attack as Sunday’s Praline was thrilling. Tyler Maloney, who in the past amazed as The Boy, danced beautifully but given his recent injury which caused him to withdraw from one of his "Whipped Cream" performances, was understandably careful: No doubt the daredevil in him is undiminished and we will marvel over it again in the spring.

I regret not having seen Klein’s Boy, since I am a fan, but given my antiquity and the spike in crime in New York City, I have sworn off evening performances for the time being. (And why are stellar dancers like Maloney and Klein kept penned in the corps?) At both shows, the audience cheered the company to the echo—every decibel of the ovations was deserved. Such performances are art as blessing unalloyed.

Eulalia, thank you so much! True about the crime in the city, unfortunately. I regret that I had to miss Zimmi Coker and Tyler Maloney on Sunday. It would seem that in addition to the several wonderful casts for Whipped Cream, we also have wonderful potential casts for Coppelia, which we haven't seen in a while.

Solor, ITA about the orchestra. The music sounded much bigger than in the Met Opera House, especially during the "scary" scenes, and the sets were much more impactful than they were on the Met's cavernous stage.

Zachary, I think you're probably right about the end of Act I. It was definitely a traditional "white act" that we see in most of Petipa's works. I doubt that people sitting in the orchestra level were able to observe the extraordinary moving kaleidoscope-like formations of the corps. But from the rings, it was incredibly beautiful to see groups of dancers move inward while others moved outward.

ITA we needed candy on the promenade. I saw a number of groups of non-dancer neatly dressed children, elementary aged, being ushered into their ring seats and being instructed in theater etiquette. Bravo to that! It brought back memories of the Bernstein Young People's Concerts.

Curious as to whether anyone attended any of the mixed rep programs? Would love to read their thoughts.....

Hi, Beth.

Stay tuned.

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Saw both rep programs. The less said about "Lifted" the better. Both "The Dream" and "The Seasons" were danced exceptionally well, showing off a broad range of dancers across the soloist and corps ranks (as well as some principals). It's great to see so much new talent.

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