ABT Whipped Cream – B.Y.O.C.

When ABT premiered Alexei Ratmansky’s Whipped Cream at the Segerstrom Center five years ago, there were tables set up in the lobby with huge containers of candy. For $6, you got an empty box into which you shoveled as much candy as possible before carrying it into the theater to enjoy during the performance. During Act I there was that expected moment when you thought “Ugh, I’ve eaten too much of this stuff — the stomach feels sick, but the buzz in the brain is fantastic.” And then after a little while, you plowed back into the candy again. What was happening in the story on stage was literally happening throughout the audience at the same time. 

 

Then when the show moved to New York, everybody got all serious and nixed the candy. "Have a cocktail, instead, for $20,” we were urged. Nah, bring your own candy! Twizzlers, root beer barrels, chocolate covered anything — bring your own candy. It will make this delicious, caramelized production all the more enjoyable. Whipped Cream is a scrumptious, delightful affair that ABT has reprised with new intense flavoring during its current run at the Koch Theater. 

 

Designer Mark Ryden shows us the brain on acid. His Snow Yak, Long Neck Piggy, Gumball Lady, and that freaking bouncing out-of-control Bumblebee are to die for. The big-headed Priest with his moralizing gaze, the even bigger-headed Doctor who manages to get his hands under The Boy's hospital bed sheet after which he dips into the booze, the battalion of Nurse Ratcheds with their nightmarish, rocket-sized syringes — all of it mixed in with the sweetest little tea flowers and spices — you can’t imagine-up this stuff without pharmaceutical help.

 

On Thursday and Friday nights, ABT’s dancers performed superbly while the non-dancing Extras nearly stole the show. The company looks so inspired when they dance Ratmansky’s works. Jonathan Klein, slightly wrestling with the overwhelming reality of leading Opening Night, was in top form as The Boy who indulges in too much whipped cream, ends up in the hospital, and has an awful nightmare. May Klein have many more Opening Nights in his future — in our future. His solos were packed with goodies and his characterization was true. The second performance saw Daniil Simkin reprise his original role with the crazy, over-the-top pyrotechnical embellishes that are fructose to his fans. Simkin was out to make us believers. He didn’t just politely taste the whipped cream; he stuck his whole face in the bowl. Who hasn’t done that? Well, you’re all liars.

 

Skylar Brandt took Princess Praline to a new level on opening night. Her brilliance came so easily and so boldly. It was breathtaking to see that level of technical authority on stage. She was, in fact, the very top tier of the beautiful cake that becomes the focal point at the party. Breanne Granlund successfully debuted in the role on the following night but had a couple of technical issues. We look forward to seeing how ABT develops her artistry. 

 

Christine Shevchenko and Calvin Royal danced the roles of Princess Tea Flower and Prince Coffee on opening night while Devon Teuscher and Cory Stearns danced the second night. Both couples were charming and persuasive. Shevchenko offered more effervescence while Teuscher’s brew had more subtle flavors. Royal’s dancing continues to improve rapidly. It seems to rise a level or two every time he has to dance a Ratmansky role. Stearns is still capable of doing most of what he has always done, and on the second night he incorporated real energy into the characterization of Prince Coffee.

 

Joseph Gorak and Eric Tamm shared the role of Prince Cocoa, and each danced brilliantly. Why is it we see so little of them? Blaine Hoven’s Slivovitz with his concern for his manicure was hysterical along with Catherine Hurlin and Connor Holloway on opening night and Zhong-Jing Fang and Joao Menegussi on the second night. Each cast mixed up a potent cocktail of comedy and fun.

 

The H.H. Pump Bump Award is bestowed upon –– wait, there’s a tie –– Long Neck Piggy and Skylar Brandt for their brilliance and imagination on opening night.

 

 

Comments

[Solor]

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.

[Zachary]

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.

[Eulalia Johnson]

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.

[Haglund]

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.

[Beth CP]

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

[Haglund]

Hi, Beth.

Stay tuned.

Those commenting are seeing error messages. We know. However, the comments are making it through.

[Solor]

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.