In the News

The Latest: Moving On Up

Whim W’Him expands beyond its pickup company roots.

As a growing number of dance companies turn to project-based models, Seattle-based Whim W’Him is taking a leap in the opposite direction.

Anna Waller for the Dance Magazine on August 01, 2014
Whim W’him: #UNPROTECTED at Erickson Theatre

Whim W’him’s core concept—classical modes reinvigorated by their fusion with contemporary movement and a multidiscplinary approach to all aspects of production—has been proved to be more than viable by Wevers and his collaborators, and in #UNPROTECTED one sees just how much variety in vision and style is yet to be explored.

T.S. Flock for the Vanguard Seattle on May 22, 2014
Opening Nights: #UNPROTECTED

Choreographer Olivier Wevers has made a series of smart moves since he launched his company Whim W’him in 2010, both onstage and off. With this latest program—his longest performance series to date—and dancers now on contract, he’s looking to create a permanent company rather than work with a constantly shifting pick-up group.

Sandra Kurtz for the Seattle Weekly on May 20, 2014
Whim W’Him: The Courage Of Conviction

Choreographer Olivier Wevers has spent more than five years propelled by the courage not only to make dances, but to forge a dance company in the worst economic climate since the Great Depression. His company Whim W’him is in the midst of its spring program at Seattle’s Erickson Theater. #unprotected is an evening of three new works by Wevers and two guest choreographers. They’re a manifestation of not only Wevers’ artistic vision; they’re also the fruit of his courage and perseverance.

Marcie Sillman for the Marcie Sillman Blog on May 19, 2014
WHIM W’HIM: #UNPROTECTED

Whim W’Him constantly challenges social norms in unique and pivotal ways, as demonstrated in their last series ‘Instantly Bound.’ We can’t wait to see what they have next in store.

Juliana Pera for the Vanguard on May 18, 2014
Whim W’Him offers a compelling trio of premieres

In “#unprotected,” Whim W’Him’s artistic director Olivier Wevers has done the nearly impossible, offering us a beautifully balanced mixed-bill program of three world premieres that are all equally compelling.

Alice Kaderlan for the The Seattle Times on May 16, 2014
Whim W’Him dance company comes to Capitol Hill with #unprotected

In its fifth year of performing, innovative Seattle dance company Whim W’Him is performing its first full-length evening of works on Capitol Hill with eight performances at the Erickson Theatre.

Miryam Gordon for the Capitol Hill Seattle Blog on May 15, 2014
The Weekend List

Whim W’him shows are always fresh, physical and visual. And rarely have I missed one of the reps or not touted them to some dance-seeking friend.

Florangela Davilla for the Crosscut on May 15, 2014
Grand Rapids Ballet’s ‘A Midsummer Night’s Dream’ is an engaging journey of astonishing originality

Grand Rapids Ballet last week premiered an entirely new production by Olivier Wevers that’s an engaging journey full of choreography that sometimes is astonishing in its originality and inventiveness.

Jeffrey Kaczmarczyk for the Michigan Live on May 14, 2014
The Pick List: The Week’s Recommended Events

Olivier Wevers continues to experiment with movement so slippery you need rubber gloves to catch it. This fifth-anniversary year, Wevers is putting the company dancers on contract and adding another week to its usual run—two more big steps for a group that excels at fancy footwork.

Sandra Kurtz for the Seattle Weekly on May 14, 2014
A Fiendish Conversation with Whim W’Him’s Olivier Wevers

“…The style of the works, the moods of the works—that’s important to me to keep the evening flowing with different speeds, different moods. I’m also excited about being in the Erickson and not having any wings. We’re using the black walls around the theatre. There’s no front curtain, there’s no wings, there’s no place to hide. It’s exciting. It’s a little bit scary, but exciting.”

Seth Sommerfeld for the Seattle Metropolitan on May 14, 2014
Whim W’Him takes step toward being full-time dance company

Whim W’Him has a new executive director and contracts signed for a 24-week season in 2014-15. These developments are part of a long-term strategy to place Whim W’Him as a high-profile player in Seattle’s dance scene and a steady presence on the touring circuit in the U.S. and beyond.

Michael Upchurch for the The Seattle Times on May 11, 2014
Body Language

Andrew Bartee emerges as an experimental choreographer. This month he’s unveiling a world premiere as one of three pieces in Whim W’Him’s #unprotected.

Rachel Gallaher for the City Arts Magazine on April 28, 2014
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