The selling point of three works that are new Olivier Wever’s Whim W’Him dance team filled the Intiman Theatre on per night when thawing heaps of slush in Seattle roads mounted to your knees. Boots are not strictly a fashion option. “Cast the initial Rock in Twenty Twelve” came with plenty of temperature of its very very own, however.
Two reduced works, La Langue de l’amour and Flower Festival, led as much as the night’s major showcase, thrOwn, but that is not to imply they weren’t as appreciatively gotten. If you’re during the theater as a few, you need to be careful exactly how loudly you clap for the wickedly titled La Langue de l’amour, should your partner takes it being a passive-aggressive hint of some type.
A solo en pointe tease by Chalnessa Eames in a deranged-pixie wig, Langue employs pantomime and, in this context, the not-so-sublimated eroticism regarding the allegro motion of a Domenico Scarlatti harpsichord sonata as Wevers wrings every glistening fall of intercourse appeal out from the ballerina’s formal accuracy (a gauzy wisp of costume by Christine Joly de Lotbiniиre helps with that work). Typically, ballet prevents conjuring within the illicit awe inspired whenever Eames bends and looks right straight back through her legs during the market. Through charade, she makes a pretty determined, detailed proposition of delights—Oh my, whipped cream?—in the offing in the event that item of desire (a spotlight chosen somebody into the market) calls her. Later on, after thrOwn, it’s going to appear impressive that the exact same individual danced both in. Continue reading “From Whim W’Him, Intercourse Kittens and Sex Kills”