In the News
- 2014 Auditions Guide: Forget the Cattle Calls
“I want a group where dancers can blossom with artistic freedom,” says Olivier Wevers.
- Jenny Dalzell for the Dance Magazine on February 01, 2014
- INSTANTLY BOUND: WHIM W’HIM AT THE CORNISH PLAYHOUSE
The three dances presented over the course of the night were diverse, but there was a cohesion and a strategy to the sequencing, moving from the darkest, dourest material to a moment of levity.
- Sarah Brink for the Vanguard on January 29, 2014
- Bonding- Instantly Bound – Seattle’s Whim W’him
It will be a pleasure to see how this strong core of talented dancers build together Whim W’him’s future presentations.
- Dan Speer for the CriticalDance Forum on January 23, 2014
- Olivier Wevers: The Benefits Of Baggage
You can take the boy out of the ballet company, but you can’t remove years of immersion in ballet culture from the boy’s psyche. In the case of choreographer Olivier Wevers, that’s a great thing.
- Marcie Sillman for the Marcie Sillman Blog on January 21, 2014
- Whim W’Him Primed for Primetime
For three nights, Seattle Center’s Cornish Playhouse (formerly Intiman Theatre) filled with “whimmers”– artistic director Olivier Wevers’ term for fans of his contemporary dance company Whim W’him–come to watch Instantly Bound, the initial offering of the company’s fifth season.
- Charlotte Hart for the Seattle Dances on January 21, 2014
- Whim W’Him’s ‘Instantly Bound’ is a study in dance contrasts
Whim W’Him’s “Instantly Bound,” featuring two works by director Olivier Wevers and one by guest choreographer Juanjo Arques, offers wild contrasts of mood, ranging from a meditation on gun violence to a sex-crazed dinner party.
- Michael Upchurch for the Seattle TImes on January 18, 2014
- A Dazzling Step Forward for Whim W’Him
With its latest program this weekend at the Cornish Playhouse, Whim W’Him has truly come of age as a professional contemporary dance company.
- Alice Kaderlan for the Seattle PI on January 18, 2014
- Olivier Wevers’ latest: A shot in the dark
“These incidents bind us together,” he says, “and make us all think about our mortality. I wanted to capture that — not just the sadness, but also the way that people create something together after an incident.”
- Alice Kaderlan for the Crosscut on January 16, 2014
- Olivier Wevers: Making Dance On A Whim
Wevers has always been interested in creating dances. In 2010, Wevers took the plunge and formed Whim W’Him.
- Marcie Sillman for the KUOW on January 16, 2014
- Beverly Hills 90210 with Pointe Shoes
Arques’ choreography sensual and raw, focusing on human interaction, especially in the duets with Tory Piel and Kyle Johnson, where they play off each other’s movements with a moody energy and strong emotional pull. They’re tender, angry, violent and loving towards each other, embodying a sympathetic relationship. Everyone can relate.
- Rachel Gallaher for the City Arts Magazine on January 13, 2014
- A Third-Degree Slow Burn, at Whim W’Him
It’s full of wry humor and deprecating touches, but undeniably also suffused with sadness and dislocation.
- Michael van Baker for the Sunbreak on May 20, 2013
- Artist Exposed in ‘Third Degree’
The subject matter may be new, but the choreography is beautifully, classically Whim W’Him. Wevers took a risk by exposing himself so fully, and it paid off as one of the best pieces he’s created in the past year.
- Rachel Gallaher for the City Arts Magazine on May 20, 2013
- Whim W’Him’s Vibrant, Arresting Visions of 21st Century Ballet
Seattle is lucky to have Whim W’Him not just as an extraordinary performing ensemble, but as a group that fosters new work and further develops a new mode of making ballet.
- Anna Waller for the Seattle Dances on May 20, 2013
- Whim W’Him show lets PNB’s Andrew Bartee shine
In Whim W’Him’s latest show, “Third Degree,” Bartee is most spectacular in “L’Effleure,” choreographed by Annabelle Lopez Ochoa, whose work Wevers has championed in Seattle.
- Michael Upchurch for the Seattle Times on May 18, 2013
- More is More for Whim W’Him
Wevers is startling in many ways. His work is robust both in the abundance of his works and in his majestic sense of the balletic vocabulary, like a constantly rotating display case of prismatic gems in which their seemingly changing colors can’t quite be identified.
- Christin Call for the Seattle Dances on January 23, 2013
- A Prodigal…Returns and Serves
Whim W’him continues to attract and grow audience. Plans are for deserved expansion and a debut at the Joyce Theatre in New York later this year.
- Dean Speer for the CriticalDance on January 20, 2013
- Whim W’Him’s ‘Crave More’: stellar dancers and dance
Stellar dancers, and a mostly stellar lineup of dance works, make Whim W’Him’s “Crave More” a must-see for dance lovers this weekend.
- Michael Upchurch for the Seattle Times on January 19, 2013
- Bold New Dances by Catherine Cabeen, Annabelle Ochoa & Olivier Wevers
The Sofa, set to Mozart’s Piano Concerto No. 9, has an unusual guest artist: a beautiful purple sofa that gets carted around, turned over, hidden underneath, and even strung up.
- Michael van Baker for the Sunbreak on January 19, 2013
- The Top Things to Do This Long Weekend: Jan 17–21
Olivier Wevers’s modern dance troupe returns with four short works—including local premieres ofThe Sofa and More by Wevers and Before/After by guest choreographer Annabelle Lopez Ochoa—plus the debut of new company dancers and a guest appearance by Lucien Postlewaite, on a quick vacation from Les Ballets de Monte-Carlo.
- Seattle Met Staff for the Seattle Metropolitan magazine on January 17, 2013
- Get to Know a Creative: Choreographer Olivier Wevers
Since founding the contemporary dance company Whim W’Him in 2009, Artistic Director Olivier Wevers has delighted audiences and critics alike with his mixture of humor, drama and inventive dance movement.
- Alice Kaderlan for the Crosscut on January 15, 2013
- 4 HOURS WITH OLIVIER WEVERS
Four hours photographing choreographer Olivier Wevers at his private home in Seattle made for a fantastic and creative afternoon.
- LaRae Lobdell for the Photo Sister on July 02, 2012
- Review Whim W’Him
Flower Festival reveals Wevers’ wit, as well as his ballet experience. Only that knowledge could allow him to subvert the original dance so wonderfully. It also demonstrates Wevers’ gift for the pas de deux. He creates moments of true intimacy for two dancers. Even in ThrOwn, a work for five dancers, the duets stand out.
- Marcie Sillman for the Dance International on June 25, 2012
- ‘Spotlight on Seattle’: performers go to town in dance city
Wevers’ emphasis was on athleticism, theatricality and frisky humor in dance — not always in the same package, but recurring in one combination or another often enough to give you a good notion of his tastes.
- Michael Upchurch for the Seattle Times on June 07, 2012
- 2012 Mayor’s Arts Awards winners announced
As Mayor Mike McGinn notes, “This year’s award recipients reflect the diversity of arts and culture in our city and together demonstrate a commitment to access for all to enjoy and participate in the arts.”
- Lynn Jacobson for the Seattle Times on June 05, 2012
- Utterly Memorable: Approaching Ecstasy
The eerie scenic design, the underplayed overhead lighting, the gut wrenching music expertly played by the St Helens String Quartet (led by the magnificent Michael Jinsoo Lim) – all were utterly remarkable. At the premiere, the music and chorus were beautifully amped and the dance was understated, striking.
- Gigi Berardi for the 4dancers.org on June 02, 2012
- Whim W’him, The Esoterics, and St. Helens String Quartet’s Exquisite “Approaching Ecstasy” Blends Genres, Bodies
Like so much of the evening, it was inventive and fluid. The mood is playful, experimental. Each poem and dance introduce us to a new scenario
- Susanna DW for the Sunbreak on May 22, 2012
- Approaching Ecstasy
Approaching Ecstasy is one of the all-too-rare collaborations where the contributions of each partner are evenly presented. Neither overshadows the other, but, rather, they augment each other. Eric Banks’ delicate music was a lovely mate to Wevers’ delicate choreography. The staging, by Wevers, was restrained but powerful. As the singers walked through the portal, in affectionate pairs, at the end of the piece, leaving only the instrumentalists and conductor Banks onstage in the shafts of soft light, the audience was left, sighing, in a state of grace. What a gift!
- Marcie Sillman for the ARTDISH on May 22, 2012
- Visual Metaphors Abound in Whim W’Him’s ‘Approaching Ecstasy’
Approaching Ecstasy proves that Wevers is never stagnant in his work. Constantly developing new choreography is a strength for this Artistic Director. Even with each new work he retains a look that is decidedly “Whim-esque.” Dancers seem to always be moving from the torso, stretching their bodies and limbs as far as they can possibly go, only to take them even farther, creating this magical essence of floating beyond defined limits.
- Rachel Gallaher for the City Arts magazine on May 21, 2012
- Romanticism of Ballet in Approaching Ecstasy
What is heartening is that Wevers shows no tendency towards a macho Ballet Boyz superstar aesthetic, and he is genuinely interested in working on artistic problems, especially to the inclusion of other artists. Approaching enlists an intriguing combination of Seattle artists; Wevers adds in his own whimsical way, something meat-y to the dialogue.
- Christin Call for the Seattle Dances on May 20, 2012
- Whim W’Him, Esoterics bring fine dance, fine music for fine evening
Fine visuals, fine dance, fine score — “Approaching Ecstasy” has it all.
- Michael Upchurch for the Seattle Times on May 19, 2012
- Preview: Whim W’Him’s Approaching Ecstasy
Known for its ever inventive and deftly performed works of contemporary ballet, Whim W’Him is once again tackling an ambitious program with its upcoming show, Approaching Ecstasy.
- Mariko Nagashima for the Seattle Dances on May 16, 2012
- Approaching Ecstasy Pours Cavafy’s Poetry into Liquid Bones in Suits
When I mentioned this last part to Wevers, he got excited about what he called “liquid bones”: ”In classical ballet, it’s often about all these poses that you do,” he said. “With the great choreographers, you don’t see transitions really, every movement leads to another movement.”
- Michael van Baker for the Sunbreak on May 16, 2012
- Everett native dances into local hearts
“It’s fantastic to be part of this project,” Bartee said. “I love collaborations because it changes the dynamic by incorporating different artistic voices.”
- Deanna Duff for the Weekly Herald on May 16, 2012
- Dance and Desire
Cavafy’s languid, hothouse verse, overtly homoerotic as few poets before him had dared to be, reveals the emotional life of a gay man in his closeted time, from carnal longing to fear and the burdens of secrecy.
- Gavin Borchert for the Seattle Weekly on May 16, 2012
- ‘Approaching Ecstasy’: a dance-choral excursion with Whim W’Him and guests
To see Andrew Bartee and Lucien Postlewaite balance, float and pivot their way through an intricate duet in rehearsal is akin to watching human slipknots forming and dissolving in rapid, sensual sequence.
- Michael Upchurch for the Seattle Times on May 13, 2012
- Culture Dose: Whim W’Him presents the premiere of “Approaching Ecstasy”
Exciting things are on the horizon for dance company Whim W’Him, which performs alongside live singers for the first time during its May 18-20 performance of “Approaching Ecstasy” at the Intiman Theatre.
- Corinne Whiting for the Seattleite on May 02, 2012
- Grand Rapids Ballet’s innovative ‘Movemedia’ returns with a world premiere by choreographer Olivier Wevers
The artistic director of Whim W’Him has been in West Michigan, serving as artist-in-residence to help Grand Rapids Ballet Company mount two shows of new choreography, pushing classical ballet into contemporary directions with elements of modern dance.
- Jeffrey Kaczmarczyk for the MLive on April 02, 2012
- Grand Rapids Ballet, choreographer Olivier Wevers, raise questions with riveting new works of dance in ‘Movemedia’
Wevers’ work is abstract, occasionally unfathomable. But the Belgian-born choreographer’s work also is riveting.
- Jeffrey Kaczmarczyk for the MLive on March 23, 2012
- A Shepherd On The Rock
The conclusion of “ThrOwn” was strong, with four of the characters each dumping a small pile of “stones” on the victim, who is then lifted up. Again, this lighter and not exactly literal treatment of his subject matter actually makes a deeper impact – poetic.
- Dean Speer for the CriticalDance on February 01, 2012
- Whim W’him Cast the First Rock in 2012
Flower Festival reveals Wevers’ wit, as well as his ballet experience. Only that knowledge could could allow him to subvert it so wonderfully. Flower Festival also demonstrates Wevers’ gift for the pas de deux. He creates moments of true intimacy for two dancers. Even in ThrOwn, a work for five dancers, the duets stand out.
- Marci Sillman for the ARTDISH on January 26, 2012
- From Whim W’Him, Sex Kittens and Sex Kills
Some of Wevers’ most striking choreography comes from the ambivalence with which he freights a romantic pas de deux, and from the willingness of his dancers to act that out—Postlewaite and Eames twine limbs as if their bones were pickled.
- Michael van Baker for the Sunbreak on January 23, 2012
- Wit Wins in Olivier Wevers’ “Cast the First Rock in Twenty Twelve”
“thrOwn” was a work full of contrasts—male vs. female, society vs. the individual, religion vs. reason—and so was the night as a whole. Wevers purposefully chose to pair the piece with the two comedic works, a move that galvanized the two sections completely. And while the first two were cleaner and more clear-cut, Wevers took a bold, mostly successful risk with “thrOwn,” tossing his own rock out of the circle of playing it safe.
- Rachel Gallaher for the City Arts on January 23, 2012
- Whim W’Him Not All Whimsy with Cast the First Rock in Twenty Twelve
There are moments of exquisite beauty nestled throughout the work, though most revolve around Eames: a tender duet with Postelwaite as her lover, a contorted and a heart-wrenching solo where she both pleads for help and resigns herself to her fate.
- Mariko Nagashima for the Seattle Dances on January 22, 2012
- At Whim W’Him, comedy steals the show
Indignity and grace get inextricably tangled together with a swagger and silliness that’s seamless.
- Michael Upchurch for the Seattle Times on January 21, 2012
- Olivier Wevers’ wit shines in new Whim W’him choreography
Rather than end “Flower Festival” with a pose,Wevers has the lights go down as Bartee and Postlewaite are still struggling, turning each other by an outstretched leg in an endless circle of one chasing the other. It’s a clever and appropriate conclusion to a delightful romp that had the audience on its feet almost before the stage went to black.
- Alice Kaderlan for the Crosscut on January 21, 2012
- The Weekly Wire: This Week’s Recommended Events
thrOwn is about “righteous cruelty” and retribution, with images of punishment—flogging, electrocution, and stoning—rendered with the articulate virtuosity that is becoming Wevers’ kinetic signature.
- Sandra Kurtz for the Seattle Weekly on January 18, 2012
- For Whim W’Him’s Olivier Wevers, A New Dance is Life or Death
thrOwn is not political, Wevers is careful to say, in the sense of tsking at Islamic theocracies from an elevated moral plane. He wants instead to explore the continuum of judgment that leads from personal disapproval to condemnation at the hands of society.
- Michael van Baker for the Sunbreak on January 17, 2012
- APAP Showcases at Peridance – Program A
Olivier Wevers’ Flower Festival was performed by Seattle based Whim W’Him, a company who is completely new to me and who absolutely knocked me out with an amazing comic performance.
- Karen Shapiro for the Body Wrappers/Angelo Luzio on January 17, 2012
- Seattle’s Whim W’Him is troupe of the moment
With Wevers and his company going from strength to strength, Seattle dance fans will naturally want to check in with them. They’ll get their chance next weekend when three new Wevers dances — two of them playful, one intense and sobering — are premiered at “Cast the First Rock in Twenty Twelve.”
- Michael Upchurch for the Seattle Times on January 15, 2012
- My APAP 2012
Whim W’him stopped the show with a truly witty duet entitled FLOWER FESTIVAL, set to the familiar music of the Flower Festival at Genzano pas de deux. Danced with spectacular dead-pan comic flair by PNB dancers Andrew Bartee and the inimitable Lucien Postlewaite, FLOWER FESTIVAL is one of the most amusing danceworks ever.
- Oberon's Grove for the Blog Oberon's Grove on January 09, 2012
- Seattle Royalty: Interviews with Three Princess Grace Award Winners
By receiving national and international recognition, Wevers is enjoying his role in helping to establish Seattle as a prime locale for dance, grateful for the support of a community that values the arts.
- Steve Ha and Mariko Nagashima for the SeattleDances on November 26, 2011
- ‘Monster’ Tackles Gay Bullying Through Dance
Seattle-based choreographer Olivier Wevers takes aim at gay bullying through an emotion-filled dance “Monster,” which can be seen as part of the upcoming Dance Under the Stars Choreography Festival this month.
- Jessica E. Davis for the Palm Desert Patch on November 03, 2011
- Supporting the area’s new dance company
Under Mr. Wevers leadership, Whim is quickly becoming recognized as the leader in our community for creating contemporary new works that are mesmerizing to audiences.
- Rose Dennis for the Bellevue Reporter on October 20, 2011
- Built for Man of the Month: Olivier Wevers
This month, we salute Olivier Wevers, Choreographer and Artistic Director at Seattle dance company Whim W’Him. As an artist and an innovator, Olivier uses hiscreative fervor for dance to infuse originality into a medium that has been practiced since the beginning of time.
- M. Humphrey for the Built For Man on October 15, 2011
- Seattle choreographer – Olivier Wevers – awarded prestigious fellowship
Seattle choreographer Olivier Wevers, Artistic Director of Whim W’Him, has been awarded a prestigious 2011 Princess Grace Choreography Fellowship.
- Alice Kaderlan for the Crosscut on August 18, 2011
- Seattle Weekly Best of 2011
Whim W’Him was voted best Arts Organization by Seattle Weekly’s readers.
- for the Seattle Weekly on August 01, 2011
- Olivier Wevers & Whim W’Him: Dances to a Different Drummer
In late June, Wevers and his company assembled again at Intiman Theatre for reSet, an evening of dance both tempered by reflection, and driven to new heights by a young choreographer’s desire to better translate his vision to the stage.
- Michael van Baker for the The SunBreak on July 08, 2011
- A day of celebration of Olivier Wevers
It was the perfect evening to celebrate the talents of this fabulous dancer, who is someone to continue to watch as he emerges into the Seattle dance arena. We all wish him continued success with his new career as an artistic director and choreographer.
- Rose Dennis for the The Bellevue Reporter on June 30, 2011
- Whim W’Him’s reSet: A New Direction, A Higher Aim
This is a company that is rapidly finding its voice. All that remains is for the voice to have something to tell. Since that has never been a problem for the ensemble, their next work promises something truly unique. One can hardly wait to see what it will be.
- Omar Willey for the The Seattlest on June 28, 2011
- Whim W’Him’s ‘reSet’ makes good second impression
If you want to make a strong impression, it doesn’t hurt to say something twice. With “reSet,” Seattle choreographer Olivier Wevers and his company Whim W’Him offered dance lovers a chance to see two Wevers pieces a second time, as if to reiterate just how good they are.
- Michael Upchurch for the The Seattle Times on June 27, 2011
- Whim W’Him Dazzles at Intiman
One of the marks of a mature artist is discipline – the ability to pick and choose among one’s creative ideas and put only those that “fit” into a particular work. Based on Friday night’s performance by Whim W’Him, there’s no question Olivier Wevers is a mature talent who deserves recognition not just in Seattle but in New York and other dance capitals.
- Alice Kaderlan for the Seattle PI on June 25, 2011
- Whim W’Him choreography: a new twist for veteran ballet dancers
Wevers knows his choreography places great technical demands on his dancers, most of whom come from strict ballet backgrounds, and “It’s Not About the Money” is no exception. The music, by the hip New York group Billband, is uptempo and Wevers’ movements require rapid changes in direction. The three dancers dart every which way and when a break comes, they take full advantage to catch their breath from this energetic, abstract work.
- Alice Kaderlan for the Crosscut on June 22, 2011
- Whim W’Him stages three works by Olivier Wevers
There’s a nickname, “Whimmers,” for fans of Whim W’Him, the dazzling new dance troupe helmed by Seattle choreographer Olivier Wevers (newly retired from Pacific Northwest Ballet). There’s also an opportunity this weekend for Whimmers and Whim W’Him novices alike to savor this company’s talents and accomplishments.
- Michael Upchurch for the The Seattle Times on June 22, 2011
- Whim W’Him Get Busy Online and On Stage
Only in their second year, Whim W’Him have received extraordinary accolades from sources all around the country including Dance magazine, won a grand prize at the Dance Under The Stars competition for their piece Fragments, announced a five-year residency with the Intiman Theatre and made their international debut at the 4th Annual Choreography Festival in Copenhagen, the first American group to be invited to compete in their finals.
- Omar Willey for the The Seattlest on June 19, 2011
- Whim W’Him Premieres Second Season at Intiman, Has Something to Say About It
Maybe Whim W’Him is Wevers’ chance to cast off the treachery of image and expectation in his own life, helping us to help him emerge as a fresh new face in the Seattle dance community – maybe in a way that no one, not even himself, expects.
- Amy Mikel for the The Seattlest on January 19, 2011
- Whim W’Him at Intiman
Shadows, Monsters and Raincoats establishes Olivier Wevers and Whim W’Him as a vital presence in Seattle’s contemporary dance landscape. Now, especially with Monster, Wevers demonstrates a maturity and confidence in his own choreographic voice. Let’s hope it won’t be another twelve months before the next performance.
- Marcie Sillman for the Artdish on January 19, 2011
- Whim W’Him’s “Shadows, Raincoats & Monster”
This piece throbbed with such intense pain and aching tenderness. This exquisite ‘Monster’ –limping and wounded with the scars of fear—did what nothing else could. It opened my eyes to see the love behind the mask for the first timeÉand it was beautiful.
- Denise Opper for the Class Act Tutu & Dancewear Blog on January 18, 2011
- Here there be monsters – of vital interest to dance fans, thanks to Whim W’Him
Monsters, a new triptych of duets by choreographer Olivier Wevers, was premiered on Friday by Wevers’ dance troupe Whim W’Him — and it’s a tightly knit stunner.
- Michael Upchurch for the The Seattle Times on January 15, 2011
- Whim W’Him Brings Shadows, Raincoats and Monsters to the Stage
To capture in a photograph – or even a series of photographs – the amount of focus and control put forth by a ballet dancer is nearly impossible. The raw emotion and energy that is felt by being in their presence is extremely difficult to convey through one single image. I was lucky enough have the chance to attempt it with a behind-the-scenes glimpse of local dance group, Whim W’Him
- Nate Watters for the City Arts Blog on January 13, 2011
- Q&A: Ballerina Melody Herrera reflects on Shadows, Raincoats & Monsters
They are all amazingly gifted artists and very giving and genuine and honest, and very down to earth. Everyone has an ego I’m sure, but you just don’t feel like that’s an obstacle here. Everyone is bringing their best work ethic and the best of themselves every day and I am completely blessed to be a part of it.
- Rachel Gallaher for the City Arts Blog on January 12, 2011
- The Weekly Wire: The Week’s Recommended Events
The inaugural show for Olivier Wevers’ Whim W’Him company at On the Boards last year created a big ruckus with the audience. In the lobby following the show, “Needs to be more radical” argued with “Not enough like ballet.” The debate continued on blogs and in the online comments to reviews. Both factions, and everyone in between, should come see the next episode in this young Belgian choreographer’s development.
- Sandra Kurtz for the Seattle Weekly on January 12, 2011
- Whim W’Him ready to revolutionize the world of dance
Undoubtedly, “Shadows, Raincoats and Monsters” will be a tremendous success and catapult Whim W’Him into the realm of greatness, as Wevers is definitely one to watch.
- Chris Heide for the Seattle Gay Scene on January 11, 2011
- Whim W’Him becomes Intiman’s first resident dance company
Whim W’Him is more than the name of Pacific Northwest Ballet principal dancer Olivier Wevers’ new dance company. It is an invitation. Whim refers to being whimsical, which means spontaneous. W’Him means ‘with him.’ The name means ‘be spontaneous with him.’ It has a musical rhythm, it’s catchy, easy to remember, and it doesn’t attach any name to it.
- Elizabeth Griffin for the Journal Media Group on January 03, 2011
- Whim W’Him
These riveting dancers—and Wevers, who also dances in Shadows—are master storytellers. Together with Wevers’ newest pieces, this work proves that Whim W’Him has much to offer. No doubt the next stage in the company’s evolution will be a multi-program season, in part made possible with its new resident status at the Intiman.
- Gigi Berardi for the Dance Magazine on January 01, 2011
- Countdown to 2011: Amy’s 11 Performance Artists to Watch in 2011
I first saw some of Oliver Wevers’ work, Ultimatum, at the 2008 Men in Dance recital. I loved it – that man knows how to make men dance.
- Amy Mikel for the The Seattlest on December 19, 2010
- In the Works: Whim W’him Rehearsals
In particular, a duet performed by PNB principal Lucien Postlewaite and Houston Ballet principal Melody Herrera mixes incredible formal flourishes, perfect diagonals and lifts. Yet another remarkable layer takes it beyond form and into an interpretation of a scene in your life I am positive you will recognize if you’ve experienced death or grief.
- Bond Huberman for the City Arts Blog on December 01, 2010
- A Stellar Men in Dance
Every so often a dance work comes along that sears itself into one’s eye and soul. Olivier Wevers’ excerpt from his work-in-progress Monster (which will premiere in its entirety in January) is such a piece. The clear runaway hit of the first weekend of the Men In Dance festival, this excerpt explores the “monster” of prejudice, and worse, that homosexuals confront every day of their lives.
- Alice Kaderlan for the Seattle PI on November 17, 2010
- Whim W’Him wins top spot at choreography festival
Whim W’Him was one of 12 finalists, out of 107 choreographic works, to perform in at the festival in front of an audience and an expert panel of 5 judges. The non-profit dance company earned grand prize honors, along with a $5,000 award.
- for the Queen Anne View on November 16, 2010
- A little wow, more monotony in Northwest Dance Project’s season opener
Olivier Wevers’s occasionally witty “This Is Not a Raincoat,” inspired by the paintings of his fellow Belgian Rene Magritte, raised the curtain and showed the most craft.
- Martha Ullman West for the Oregon Live on October 02, 2010
- Why I Won’t Miss Wevers
3Seasons is Wevers’ best yet — one of the most intriguing dances I’ve seen in a while and the reason that I, for one, will be getting my tickets for his next program well in advance.
- Mary Murfin Bayley for the City Arts on January 26, 2010
- Whim W’Him
The highlight of the evening was the premier of Wevers’ new dance, 3Seasons. Wevers’ meditation on our consumerist society, 3Seasons is set to Vivaldi’s Four Seasons, with a twist.
- Marcie Sillman for the Artdish on January 19, 2010
- WHIM W’HIM—3 SEASONS
Never have I seen such a decisive take on our modern world that fused together the elements of style, wit, humor and hope so beautifully. In fact, I have a feeling that this piece will serve as the springboard by which all other collaborative efforts will be judged, and provide Whim W’him with a prominent position in the annals of dance history.
- Denise Opper for the Vala Dancewear Blog on January 18, 2010
- Whim W’Him, On the Boards, Seattle
In September, when Olivier Wevers announced the details of his new company Whim W’Him, he lit a fuse of excitement that has burned steadily in the Seattle dance community ever since. Why the furore? This Belgian has been a favourite principal dancer at Pacific Northwest Ballet for 12 years. His choreography often ranks among the best in local dance festivals.
- Rosie Gaynor for the The Financial Times on January 18, 2010
- Whim W’Him’s full-length debut is a breathtaking evening of dance
I would say do anything you can — cash in your life insurance, pawn your children, whatever it takes — to grab a ticket to “3Seasons,” the first full-length evening of work by Olivier Wevers and his new dance company, Whim W’Him.
- Michael Upchurch for the The Seattle Times on January 16, 2010
- Whim W’Him and the Politics of Dancing
If Wevers’ interests as choreographer extend beyond the boundaries of dance for art’s sake, and into environmental and social issues, he’s also establishing himself as a gesamtkunstwerk creative director, taking into consideration the possibilities of the theatrical experience.
- Michael van Baker for the The Sunbreak on January 15, 2010
- Whim W’Him
Wevers says for him, the name Whim W’him conveys his whimsical approach to making dance, and some of the whimsy he hopes audiences will take away from the performance.
- Marcie Sillman for the KUOW on January 13, 2010
- Dance: Fly Boy
The choreographic style he’s developed in the past few years is also virtuosic and quirky, a highly physical, musical, and detailed approach. Seeing him right now may be similar to what it was like to see Twyla Tharp or Jirí Kylián early in their careers.
- Sandra Kurtz for the Seattle Weekly on January 13, 2010
- Dissolving Ballet (and disappearing tickets)
Besides being a superstar performer, Belgian-born Wevers has true choreographic talent — his phrases are never arbitrary; always probing at matters physical or psychological; there’s something mesmerizing about the gooey, sticky way his phrases come together.
- Jean Lenihan for the breathlesspace on January 09, 2010
- From Prince to King?
…this month, the 38–year–old will strike out on his own, debuting his new dance company Whim W’Him with a performance of the ensemble piece Three Seasons. It’s a playful, provocative piece showcasing familiar Seattle dancers in new contexts—swapping gender roles, breaking classical ballet lines, and donning neo–tutus.
- Jean Lenihan for the Seattle Metropolitan on January 01, 2010
- Whim W’him
Actually with Whim W’him, there was a piece I choreographed in June. I videotaped it and watched it; I wasn’t happy with what I ended up with so I just scrapped it completely. But, really, that’s only a luxury I can afford by running this company and doing this with the time that I have.
- Denise Opper for the Valla Dancewear Blog on December 08, 2009
- Best Innovator in Tights
Right now, Wevers’ choreographic life is on a roll, fueled by curiosity and enthusiasm.
- Sandra Kurtz for the Seattle Weekly on June 08, 2008