The benefit of three brand new works from Olivier Wever’s Whim W’Him party team filled the Intiman Theatre on per night whenever 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 faster works, La Langue de l’amour and Flower Festival, led as much as the night’s showcase that is major thrOwn, but that’s not to imply they weren’t as appreciatively gotten. As a passive-aggressive hint of some kind if you’re at the theatre as a couple, you have to be careful how loudly you clap for the wickedly titled La Langue de l’amour, in case your partner takes it.
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 for the allegro motion of the Domenico Scarlatti harpsichord sonata as Wevers wrings every glistening fall of intercourse appeal out from the ballerina’s precision that is formala gauzy wisp of costume by Christine Joly de Lotbiniиre helps with that work).