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World Premiere of Whipped Cream by Ratmansky

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2 hours ago, macnellie said:

I saw the matinee today. I wanted to love it and did but... I felt it was too busy--couldn't see the choreography cleanly because the costumes and sets were often the same color--at least in Act 1 and the end of Act 2.
I wanted to see the dancing! but was distracted by the frills! I may go again and sit closer. loved the music, and the wit of the staging, and the energy.

Of course, it is great to see from different places in the theater, but I actually thought Act I 'read' better from upstairs. Act II not sure ... I may have liked parts better from downstairs.

 

Altogether I saw it three times with three (mostly) different casts. Ratmansky said in an interview he wanted to create a ballet feerie--and he has...I can imagine it's not for everyone, but of its kind I think it's wonderful. On first viewing I did find the balance a little odd--as the ballet is rather front-loaded dance-wise with more pantomime and slapstick in the second act. With multiple viewings, I was altogether won over, and I found something new to enjoy in the choreography ... and the designs ... and the music ...  every time I saw it.

 

 

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4 hours ago, Drew said:

.,. Ratmansky said in an interview he wanted to create a ballet feerie--and he has...I can imagine it's not for everyone, but of its kind I think it's wonderful....

 

 

 

You hit the nail on the head, Drew! That's exactly what I wrote in one of my reports from Costa Mesa last March...that WHIPPED CREAM is, for me, a huge tribute to Petipa (also cited by Ratmansky in that interview), in the patterns of the corps, the coy  compositions of clusters of dancers, the innocence and childlike 'love' that it evokes, the Tsarist-era-like visuals.

 

Fit for a Tsar!

 

No "El Cheapo"! Instead - "El Generoso"!!!

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3 hours ago, Natalia said:

 

...that WHIPPED CREAM is, for me, a huge tribute to Petipa (also cited by Ratmansky in that interview), in the patterns of the corps, the coy  compositions of clusters of dancers, the innocence and childlike 'love' that it evokes, the Tsarist-era-like visuals.

 

Absolutely...And I would underline that I found it choreographically rich. It is a splendid pageant, but with dancing (and mime) that is witty and beautiful and strange and at times quite complex and challenging (for viewers and dancers).  And, yes, a love letter to Petipa--even as what it offers is Petipa for the 21st century. I will add, too, that I thought casts made more of a difference to the tone and, in some cases, effectiveness of the choreography than I expected in such a spectacle.

 

To be more critical --  the ballet is a wee bit long in sections and a little oddly organized -- perhaps because of the music? -- but I found it just wonderful. 

Edited by Drew

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Right, Drew. The music for specific numbers, such as Tea & her entourage, goes on too long. But what to cut? In total (minus the intermission), the ballet clocks in at only 70 minutes. Cut one dance and it barely qualifies as a "full evening" work. Ratmansky uses every bit of the music, exactly in the order intended. It absolutely helped that I familiarized myself with the score ahead of time, by listening to the Japanese CD two dozen times. So much of it seemed undanceable before I saw the ballet but Ratmansky worked wonders.

 

Moving on to GISELLE tonight, including the big three local debuts in the title role...Copeland, Lane & Murphy...one after the other, beginning tomorrow night. Looking forward to reading all reports on a separate GISELLE thread.

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7 hours ago, Natalia said:

Right, Drew. The music for specific numbers, such as Tea & her entourage, goes on too long. But what to cut? In total (minus the intermission), the ballet clocks in at only 70 minutes. Cut one dance and it barely qualifies as a "full evening" work. Ratmansky uses every bit of the music, exactly in the order intended. It absolutely helped that I familiarized myself with the score ahead of time, by listening to the Japanese CD two dozen times. So much of it seemed undanceable before I saw the ballet but Ratmansky worked wonders.

 

Still longer than La Sylphide which NYCB clocked in at 60 minutes with no intermission, and many companies perform as stand-alone full-evening work with one intermission.

Edited by mussel

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54 minutes ago, mussel said:

 

Still longer than La Sylphide which NYCB clocked in at 60 minutes with no intermission, and many companies perform as stand-alone full-evening work with one intermission.

 

Didn't NYCB perform "Bournonville Diverts" (about 25 mins), along with SYLPHIDE?

 

No complaints about WHIPPED lasting 70 minutes of performance, as it's such a rich, fulfilling work. One minute more & we'll explode of gluttony!

 

I'm also wondering if ABT plans to perform HARLEQUINADE as a stand-alone work? NYCB also uses the full 2-act Drigo score but still adds another work to the evening...often times, THE CONCERT.  At its premiere in the Hermitage (Winter Palace of St. P), HARLEQUINADE was performed alone.

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The problem with both Golden Cockerel and Whipped Cream is that even though they are short in total time, their elaborate scenic designs and flooring are not amenable to a quick change to perform another ballet after an intermission. 

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That's usually an issue if the ballet is performed after intermission.

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I saw last night's performance with Simkin, Boylston, Lendorf and Lane and came away totally charmed. 

 

Whipped Cream is, IMO, a great addition to ABT's rep because it offers treats for devoted ballet fans and those who are new to ballet alike. The sets, costumes, and choreography are visually delightful and clever in a way that even a child can immediately grasp, but the production is also rich enough to reward the more knowledgeable eye. This is definitely a ballet I will see again next season as a night out with friends who aren't regular ballet goers. ABT doesn't have many productions that are well-suited to that, so I'm pleased with the addition of Whipped Cream to the roster on that count alone. 

 

Another thing I like about this production is that it's really an ensemble piece: there are a lot of great chances to see newer dancers at their best, the focus isn't just on two or three stars as with, say, Giselle. Standouts to me last night were Catherine Hurlin as Madame Chartreuse, and Blaine Hoven as Don Zucchero, in addition to the principal cast. 

 

The Boy is a perfect role for Daniil Simkin--I can't really imagine anyone doing it better.  Stunning leaps, turns, and jumps, and he captured the spirit of the character well. Isabella was lovely as tea flower, and I really enjoyed her partnership with Alban. 

 

If you're on the fence about whether to see this during the run later in the season, go for it! It's a really enjoyable ballet. 

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I've been listening to the Strauss score everyday since Monday and I am very excited to see the production again, now that I've familiarized myself better with the music.  I think it will add to my overall enjoyment of the piece.  I'm looking forward to it coming back the end of June!

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8 minutes ago, Kaysta said:

I've been listening to the Strauss score everyday since Monday and I am very excited to see the production again, now that I've familiarized myself better with the music.  I think it will add to my overall enjoyment of the piece.  I'm looking forward to it coming back the end of June!

 

:thumbsup:

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3 hours ago, abatt said:

I love that solo.  And Cassandra does it beautifully.

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On Wednesday, June 21, 2017 at 5:30 PM, abatt said:

At a Friends' Spotlight Seminar Tuesday,  Luckett interviewed Copeland, Teuscher, and Shevchenko about "dream debuts." He asked Copeland about her scheduled debut in Praline next Monday, given that she had aleady cancelled twice. She seemed to rush to say: because of injury. And, yes, she did hope to debut next week. An awkward exchange,  it seemed.

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32 minutes ago, California said:

At a Friends' Spotlight Seminar Tuesday,  Luckett interviewed Copeland, Teuscher, and Shevchenko about "dream debuts." He asked Copeland about her scheduled debut in Praline next Monday, given that she had aleady cancelled twice. She seemed to rush to say: because of injury. And, yes, she did hope to debut next week. [...]


I would be surprised if she were not aware of the remarks/speculations that have been made about her withdrawals. Anyway, I think she might make a charming Princess Praline.  The three I saw I liked very much (in alphabetical order: Brandt, Lane, and Trenary) especially the last two who had a magical "fairy" quality. Brandt seemed a little more down to earth--but they were all excellent.

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14 hours ago, California said:

At a Friends' Spotlight Seminar Tuesday,  Luckett interviewed Copeland, Teuscher, and Shevchenko about "dream debuts." He asked Copeland about her scheduled debut in Praline next Monday, given that she had aleady cancelled twice. She seemed to rush to say: because of injury. And, yes, she did hope to debut next week. An awkward exchange,  it seemed.

I just cannot picture Misty in this role. It is rapid-fire pointework - something that is not her forte. I'll give her a lot of credit for trying if she does perform, but I would not be surprised if she withdraws. 

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4 hours ago, Fleurfairy said:

I just cannot picture Misty in this role. It is rapid-fire pointework - something that is not her forte. I'll give her a lot of credit for trying if she does perform, but I would not be surprised if she withdraws. 

 

Didn't Misty dance Lise in Ashton's Fille? It's replete with filigreed footwork. I was thinking like you before I recalled that she's danced a major Ashton role. Was her Elssler pdd sharp in that?

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Yes. Misty definitely danced Lise in Fille. I think it was with Cirio, and I'm pretty sure I saw it.  I recall that she did good work in the role.

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1 hour ago, abatt said:

Yes. Misty definitely danced Lise in Fille. I think it was with Cirio, and I'm pretty sure I saw it.  I recall that she did good work in the role.

Misty was indeed delightful as Lise - pouting, flirtatious and very well danced.  Her Colas was Herman Cornejo who had previously danced Alain in this ballet.  They were a delightful pair.  (Cirio danced with Isabella Boylston as a replacement for Alban Lendorf)

 

I was also at the spotlight seminar on Tuesday, courtesy of a friend.  The subject was preparing dream roles and the other two participants were Christine Schevchenko and Devon Teuscher, both soloists.  The only principal, Misty was very open about the fact that she is catching up for lost time becoming a principal in her early thirties and after many injuries and surgeries.  She was frank about the fact that she has often danced while injured and just after an injury.  Misty said that having to project a story and be a character onstage helps her overcome physical pain while dancing - the character and the adrenaline just push you through.  Misty mentioned that she had been rehearsing and preparing the role of Princess Praline in California but was injured and now is coming back to the role.  She said that she had forgotten everything and it was like learning the role from scratch and that her performances were only a week away.  There was no indecision as to whether she was going to perform, just the impression that it was all very rushed.  

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I'm really looking forward to finally seeing W.C. this week!

 

As an aside, I wonder if Murphy will finally be able to get back on stage Thursday. She's still listed on the casting sheet. From her IG account, it looks like she's been in the studio recently.

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1 hour ago, ABT Fan said:

As an aside, I wonder if Murphy will finally be able to get back on stage Thursday. She's still listed on the casting sheet. From her IG account, it looks like she's been in the studio recently.

 

Yes, this is from today:

 

 

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Another article about Mark Ryden's designs for Whipped Cream:

 https://www.1stdibs.com/introspective-magazine/mark-ryden-whipped-cream/?utm_term=feature3&utm_source=nl-mon&utm_content=120daysto&utm_medium=email&utm_campaign=6_26_2017&emailToken=1241790_99bbec5854761c08ea88a02d463ea155d3cc99aa4753b412b5c6fec1b0245922

 

The article confirms the rumors that the production was originally intended for Paris and then became an ABT production.

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3 hours ago, miliosr said:

Another article about Mark Ryden's designs for Whipped Cream:

 https://www.1stdibs.com/introspective-magazine/mark-ryden-whipped-cream/?utm_term=feature3&utm_source=nl-mon&utm_content=120daysto&utm_medium=email&utm_campaign=6_26_2017&emailToken=1241790_99bbec5854761c08ea88a02d463ea155d3cc99aa4753b412b5c6fec1b0245922

 

The article confirms the rumors that the production was originally intended for Paris and then became an ABT production.

 

“It had a little booklet with a pretty in-depth synopsis of the ballet that was quite convoluted and comical”   And he made a set to match!

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Any reports on Misty Copeland's long-awaited debut as Princess Praline last night? Did she appear atop the big white yak in the hospital-room procession in Act II? :)

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1 hour ago, Natalia said:

Any reports on Misty Copeland's long-awaited debut as Princess Praline last night? Did she appear atop the big white yak in the hospital-room procession in Act II? :)

I saw this ballet Monday night for the first (and, almost certainly, the last) time. Copeland rode in on the yak to thunderous applause from the almost-sold-out house. Even the second rows of side boxes were mostly sold (despite those atrocious sight lines). Although I had looked at the NY Times video clip of one Praline variation, I didn't really notice if she was faithful to that or not. No obvious mistakes. She seemed in great spirits and did bring some enthusiastic energy to the second act. Cirio was impressive as the boy and drew loud cheers for his more athletic moves. 

 

I am pretty sure Ratmansky was in the audience - side orchestra, about row O, on the aisle. So was Macaulay, on the opposite side of the house. 

 

The audience seemed to love this ballet. I am glad I saw the sets/costumes after reading all the hoopla. Lots of very inventive and apparently difficult choreography. But the music was just deadening to me and I don't think the choreography is sufficiently interesting to sit through it again. I can see people bringing kids and ballet newcomers to this and at least there's a lot of worthwhile choreography for that introduction. 

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