From a place of ambivalence, we strive to rise above the clouds—physical, psychic, electronic—that shadow, hide and cushion us. Relationships alter, and we come to feel comfortable in our separation.

Wevers has done some of his best work to classical music, and Above the Cloud, set to Francis Poulenc’s Organ Concerto, is an excellent example of his musical intuition. Seven dancers in filmy white shirts have what could be described as a truly elegant pillow fight, dancing with a set of very large and very downy cushions. The plush of the pillows is matched by the luxury of the dancers’ movement, spinning and stretching in off-center abandon, inspiring us to go home and toss a couple pillows ourselves.

Sandi Kurtz, Seattle Weekly

“Above the Cloud” reveals Wevers own transition as an artist. He’s long been adept at creating intricate and emotional pas de deux (“Monster” and “Flower Festival” are just two examples). With this dance he demonstrates his growing ease with crafting movement for larger groups, as well as his ongoing fascination with inanimate props.

Marcie Sillman, And another thing

The choreography was dense, complex and circular; nothing moved in a straight line or turned at a sharp angle, but arced in flight patterns. At times the dancers would converge, clutching pillows into a very literal cloud.

T. s. Flock, Vanguard

Above the Cloud


May 15, 2014
Erickson Theatre Off Broadway


Olivier Wevers


Francis Poulenc


Mark Zappone


Michael Mazzola