Six Reasons To Love Olivier Wevers
Olivier Wevers is a man with a mission—and a serious love of dance. Earlier this year, Dance Magazine followed the Whim W'Him director though a day of tech rehearsals at Seattle's Cornish Playhouse for our latest episode of Behind the Curtain. While we'd long admired Wevers' choreography, getting up close and personal gave us a whole new respect for the man. Why?
1. He's found the secret to success. Rumor has it that Wevers recently expanded his seven-year-old company from a pick-up troupe to a serious employer for dancers: They were put on payroll as employees (rather than independent contractors), which came with a significant raise and the establishment of a new healthcare fund.
At an audition, PC Kyle Froman
2. He treats his dancers as true collaborators. One of Whim W'Him's annual concerts is curated by the dancers themselves. Called "Choreographic Shindig," the program—playing at Seattle's Erickson Theater September 9-17 this year—includes works from three emerging choreographers that the dancers chose after reviewing around 100 applications.
3. He gives his all. About that "secret to success": Wevers is a plucky, tireless spirit whose life is devoted to his company. In our Behind the Curtain episode, he works from 8 am until midnight, fitting in administrative work at home, cutting dancers' costumes, overseeing rehearsals, giving notes. No, it's not an atypical schedule for a director/choreographer. But he also finds time to extol the talents of the choreographers and dancers he hires while fitting in everything else.
Ah, Seattle real estate
4. He lives in a lake house. And we're very jealous.
5. He's not afraid to admit his shortcomings. A creative workaholic, Wevers admits he has trouble getting rest. "Sleep is rare. It's a big problem for me," he tells us. "And right now when I'm in the theater and I have 16 and a half hour days...shutting down my brain is mission impossible."
6. His choreography looks like it'd feel amazing on your body. His partnering sections in particular have an organic, natural feel to them that never looks forced or awkward. The ooey-gooey twists and turns of his imaginative contemporary work is like candy for dancers. More, please!
Olivier Wevers as a student, photo via whimwhim.org. (Sorry, it was too cute not to share.)
"Law & Order: SVU" has dominated the crime show genre for 21 seasons with its famous "ripped from the headlines" strategy of taking plot inspiration from real-life crimes.
So viewers would be forgiven for assuming that the new storyline following the son of Mariska Hargitay's character into dance class originated in the news cycle. After all, the mainstream media widely covered the reaction to Lara Spencer's faux pas on "Good Morning America" in August, when she made fun of Prince George for taking ballet class.
But it turns out
, the storyline was actually the idea of the 9-year-old actor, Ryan Buggle, who plays Hargitay's son. And he came up with it before Spencer ever giggled at the word ballet.
Just hearing the word "improvisation" is enough to make some ballet dancers shake in their pointe shoes. But for Chantelle Pianetta, it's a practice she relishes. Depending on the weekend, you might find her gracing Bay Area stages as a principal with Menlowe Ballet or sweeping in awards at West Coast swing competitions.
She specializes in Jack and Jill events, which involve improvised swing dancing with an unexpected partner in front of a panel of judges. (Check her out in action below.) While sustaining her ballet career, over the past four years Pianetta has quickly risen from novice to champion level on the WCS international competition circuit.
Sean Dorsey was always going to be an activist. Growing up in a politically engaged, progressive family in Vancouver, British Columbia, "it was my heart's desire to create change in the world," he says. Far less certain was his future as a dancer.
Like many dancers, Dorsey fell in love with movement as a toddler. However, he didn't identify strongly with any particular gender growing up. Dorsey, who now identifies as trans, says, "I didn't see a single person like me anywhere in the modern dance world." The lack of trans role models and teachers, let alone all-gender studio facilities where he could feel safe and welcome, "meant that even in my wildest dreams, there was no room for that possibility."