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 heaps of slush in Seattle roads mounted to your knees. Boots are not strictly a fashion option. “Cast the very first Rock in Twenty Twelve” came with plenty of temperature of their very very very own, however.
Two smaller works, La Langue de l’amour and Flower Festival, led as much as the night’s showcase that is major thrOwn, but that is not to imply they weren’t as appreciatively gotten. If you’re in the theater as a couple of, you should 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 regarding the allegro movement of the 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 aids in that work). Typically, ballet prevents conjuring within the awe that is illicit whenever Eames bends and looks straight right back through her feet during the market. Through charade, she makes a determined that is pretty detail by detail proposition of delights—Oh my, whipped cream?—in the offing in the event that item of desire (a limelight chosen somebody when you look at the audience) calls her. Later on, after thrOwn, it’s going to appear impressive that the person that is same both in.
After Wevers’ reinterpreted Flower Festival, however, people rocketed from their seats to applaud.Read More