The eponymous sofa, in its Seattle incarnation, has at last made its grand entrance into the Whim W’Him rehearsal studio. A royal-purple velour Victorian settee, it commands at least as important a role in Olivier Wevers‘s The Sofa* as any of the dancers. It is graceful and statuesque; it is also heavy, long, and awkward to move about.
The logistics of getting it to various exact spots on the stage at precise moments in a complex score are not easy. Like any queenly star, the sofa can be treacherous.
“Be careful, pay attention, it’s dangerous,” Olivier warns, as eight dancers, of varying heights, pick it up and propel it rapidly around the floor.