THE HANGOVER REPORT – Ratmansky’s WHIPPED CREAM is just that, to giddy perfection

A scene from Alexei Ratmansky's "Whipped Cream" for American Ballet Theatre at the Metropolitan Opera House.

A scene from Alexei Ratmansky’s “Whipped Cream” for American Ballet Theatre at the Metropolitan Opera House.

Last night at the Metropolitan Opera House, I attended the opening night of this week’s run of Whipped Cream, Alexei Ratmansky’s absolutely delectable confection for American Ballet Theatre. The year-old production is as much of a delight this time around as the first time I saw it – not surprisingly, as most of last year’s ideal first night cast (Daniil Simkin, Sarah Lane, Stella Abrera) reprised their performances. If anything, their characterizations have only become more enchanting since they debuted the compact two-act ballet.

The aptly-named Whipped Cream, which tells the simple story of a boy’s delirious escape from reality into a sweets-filled fantasy world, depends on giving its audience a sugar high. This it does, to giddy perfection. As choreographed by Mr. Ratmansky and designed by artist Mark Ryden, the production exudes a surreal, sickly sweetness that borders on subversive. Indeed, overindulgence and potentially overdosing is basically what the ballet is about. But as the ballet accelerates towards its euphoric conclusion, it’s hard not to be blinded by the pure ecstasy of it all. To hell with the consequences, Ratmansky seems to be suggesting.

One of the chief pleasures of Whipped Cream is discovering Richard Strauss’s sublime score. And as played by the ABT Orchestra and conducted by David LaMarche last night, it sounded rapturous. The ballet closes out Ballet Theatre’s spring season at the Met. I can’t think of a better send-off than Whipped Cream. You’ll be walking on air into the summer night.

HIGHLY RECOMMENDED

 

WHIPPED CREAM
Dance
American Ballet Theatre at the Metropolitan Opera House
1 hour, 40 minutes (with one intermission)
Through July 7

Categories: Dance

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