One of the most intriguing aspects of Whim W’Him artistic director Olivier Wevers’s approach to this suite of danced/sung poems (to debut May 18-20, 2012 at Intiman Theatre) is how he varies his choreographic treatment. Today, at a little summing up preview with Seattle Times critic Michael Upchurch and AE composer Eric Banks,
I saw in order for the first time the whole range of sections that have been created so far.

Sometimes, as in “Down the Street” (see an earlier post), the danced version is quite at odds with the poem, in a deliberate juxtaposition of hidden feelings against external circumstances. The choreography of other poems portrays an abstracted and fanciful impression of a mood: in “On the Sofa, for example, memory is the subject as three men act as a couch for a fourth, who languidly relives past encounters. (This seems to be The Season of the Sofa in Olivier’s work: just last month he created The Sofa for Patricia Barker‘s Grand Rapids Ballet—although there an actual piece of furniture was used.)
Still others, such as