The selling point of three works that are new Olivier Wever’s Whim W’Him party team filled the Intiman Theatre on every night whenever thawing piles of slush in Seattle roads mounted to your knees. Boots are not strictly a fashion option. “Cast the initial Rock in Twenty Twelve” came with plenty of temperature of its very own, however.
Two faster works, La Langue de l’amour and Flower Festival, led as much as the night’s major showcase, thrOwn, but that is not to imply they weren’t as appreciatively gotten. If you’re during the theater as a few, you need to be careful exactly how loudly you clap for the wickedly titled La Langue de l’amour, if the partner takes it being a passive-aggressive hint of some sort.
A solo en pointe tease by Chalnessa Eames in a deranged-pixie wig, Langue employs pantomime and, in this context, the not-so-sublimated eroticism associated with the allegro motion of a Domenico Scarlatti harpsichord sonata as Wevers wrings every glistening fall of intercourse appeal out from the ballerina’s formal accuracy (a gauzy wisp of costume by Christine Joly de Lotbiniиre helps with that work). Typically, ballet prevents conjuring up the illicit awe inspired whenever Eames bends and looks right straight back through her feet in the market. Through charade, she makes a determined that is pretty detailed proposition of delights—Oh my, whipped cream?—in the offing in the event that item of desire (a limelight selected somebody within the market) calls her. Later on, after thrOwn, it’s going to appear impressive that the exact same person danced both in.
After Wevers’ reinterpreted Flower Festival, however, individuals rocketed from their seats to applaud. (more…)