In this subversive reinvention of the apotheosis of Romantic ballet, a dysfunctional contemporary dinner party replaces the original’s lyrical waftings of Sylphides and a Poet. This 21st century octet for 7 eccentric individuals—plus a table—bursts with plots and subplots, in a frolicking romp of dance and pantomime.

This is Wevers at his wackiest and his dancers hurl themselves with abandon into his frenetic, athletic steps. Set to the music of the early classical ballet, this “Les Sylphides” couldn’t be further from the ethereal, “white,” non-narrative original. But Wevers’ use of the Chopin/Glazunov score is pitch-perfect in this exploration of a dinner party gone bad.

Alice Kaderlan, Seattle PI

Wevers’ ability to create choreographed humor was especially pronounced in Les Sylphides—slapstick physical comedy seamlessly blended with the dancing. With inebriated conviviality, the dancers sketched fully fleshed, relatable characters within a humorous situation; they were over-the-top without becoming self-conscious in their roles.

Charlotte Hart, Seattle Dances

Wevers’ version of “Les Sylphides” is a sly, puckish, very 21st century ballet. His dancers (the first on season contract for Whim W’him), stagger drunkenly around the stage, but their every limb twitch is carefully thought out, and meticulously planned.

Marcie Sillman, And another thing

Les Sylphides


January 17, 2014
Cornish Playhouse at Seattle Center


Olivier Wevers


Frédéric Chopin orchestrated by Alexander Glazunov


Mark Zappone


Michael Mazzola