The snatches of Mozart arias are real, however fragmented, as is stripping down the body to represent the baring of the soul.
Spectrum dancers Kelly Ann Barton and Vincent Lopez bring a quicksilver precision to the piece’s high energy and high camp. Barton, in one mile-a-minute passage, spices gripping body action with an array of vernacular gestures — head waggling, finger shakings, tongue lickings — that both parody and complicate her rapid-fire moves. Lopez, in a stunning solo set to a passage from “Requiem,” becomes a whole orchestra of fine-tuned, impossibly contorted moves. In both cases, Wevers seems to be stretching his vocabulary to capture the disconnects in the musical excerpts.
Michael Upchurch, Seattle Times
Wevers’ award-winning FRAGMENTS was the evening’s showstopper. Funny and full of layers, this deceptively light work featured Lara Seefeldt and Jesse Sani. Wevers has filled every moment of FRAGMENTS with fascinating movement, engaging performance, and sly humor.
Anna Waller, Seattle Dances
In this ballet set to bits and pieces of Mozart, dancers Kelly Ann Barton and Vincent Lopez wore fluffy operatic skirts and swanned like opera divas. Barton’s lip syncing to “The Magic Flute” is funny at first, but Wevers gets the laughs out of the way right at the beginning so that then you could enjoy the surprising beauty of this strange new creature made up of opera and dance. When Lopez slips out of his skirt and performs a writhing, twisting, solo to “Requiem” it is both scary and gorgeous.
Mary Murfin Bailey, City Arts Magazine