The benefit of three brand new works from Olivier Wever’s Whim W’Him party team filled the Intiman Theatre on every night when thawing heaps of slush in Seattle roads mounted to your knees. Boots weren’t strictly a fashion option. “Cast the initial Rock in Twenty Twelve” came with plenty of temperature of the very very own, however.

Two faster 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 in the theater as a couple of, 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 associated with the allegro motion of a Domenico Scarlatti harpsichord sonata as Wevers wrings every glistening fall of intercourse appeal from the ballerina’s precision that is formala gauzy wisp of costume by Christine Joly de Lotbiniиre helps with that work). Přečtěte si více o oFrom Whim W’Him, Intercourse Kittens and Sex Kills …