The world feels so divided now.
Humans, no matter how kind or compassionate, have blind spots, moments of selective empathy, of tunnel vision.

In fact, one might say
that prejudice is selective empathy or a failure of collective empathy.
This piece questions what happens when we fail to see differences and struggle to regain our kinship.
Our uniqueness is still there, visible in action,
ready to be reclaimed by a newly open heart.

The choreography is dynamic, eating up the space and changing often but maintaining tone. There is risk and climatic build within the steps. Strong duets of momentus partnering and solos of technical intricacy hone the directives of different dancers before the group unites in energetic moments of unison. Blind Spot is a compelling note to end the night on.

Meredith Pellon, Seattle Dances

Olivier Wevers’ new work is consistent with his vision for the company: to focus attention on the human impulse to differentiate among types – racial, sexual, political – that result in social conflict and division. The problem for a choreographer of contemporary dance is to convey abstract ideas like this one in concrete movements, without being overly literal or resorting to pantomime. Wevers accomplishes this with an elegant use of thematic form – a spiraling circle that develops, dissolves, and re-develops throughout, isolating targeted individuals in the center.

Sharon Cumberland, Seattle Gay News

In less careful hands than Wevers’, the color-block costuming and the use of light to eliminate said colors could have made the titular theme of “Blind Spot” far too literal. However, the piece’s choreography added enough depth and raw beauty to keep it intriguing.

Lily Williamson, Teen Tix

Blind Spot


January 17, 2020
Cornish Playhouse at Seattle Center


Olivier Wevers

Light Installation

RSVR (Haylee Buckbee, Ian Campbell)


Olafur Arnalds, Antonio Vivaldi


Whim W’Him wardrobe


Michael Mazzola