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Monday, July 9

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A review of American Ballet Theatre in "Whipped Cream" by Marina Harss for DanceTabs.

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The good news is that the production has settled, and now breathes in a way it didn’t last year, when all the puzzle pieces had yet to find their place. The dancers appear less taxed, and as a consequence, everything looks easier, clearer, and funnier. The story is just a skeleton, really: a boy eats too much whipped cream on his communion day and ends up at the hospital, from whence he is sprung by a princess from a magic, candied realm and her facilitators, a trio of liqueurs. (The liquors cajole the doctor and nurses into drinking, and the boy gets away.) He ends up in a magical kingdom where he can eat whipped cream to his heart’s content, surrounded by fantastical beasts and warm, happy people. It’s the ultimate in wish fulfillment.

Mary Cargill's review for danceviewtimes.

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Devon Teuscher was a luxuriously smoky Princess Tea Flower, and her cool beauty created a mysterious remoteness; she was an exotic being with a hidden warmth.  Royal, too, gave his Prince Coffee a gleam of emotion that made their long pas de deux a hushed dialogue; it was not a straightforward love story, but they embodied the feeling and it was a lyrical and beautiful performance.

 

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Marquee.TV offers itself as a "Netflix for the arts."

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Marquee has struck deals to screen events from the Royal Opera House, Glyndebourne, the Bolshoi Ballet and the New York City Ballet, among other arts organisations, and is working with Opus Arte, which produces arts programming.

“All the performing arts organisations realise that to bring culture to the next generation they have to be on the devices that people are using,” said John Armah, Marquee’s chief operating officer.

 

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