ww: still thinkin’ about it…

Vincent Lopez in Olivier Wever’s Fragments (Photo by La Vie Photography)

Whim W’Him: Still Thinkin’ About It
By Rosie Gaynor

I’m not sure if time and life will ever come together such that I’ll actually write my Whim W’Him review for SeattleDances. (Whim W’Him? As in their January show…) Such was my enthusiasm for what I saw in Whim W’Him’s open rehearsals back in December that it seeped into my pitch letters to other publications and resulted in not just one, but two writing gigs.

The first review was due the weekend of the show, so that was done ages ago. The second is due Wednesday, to Dance International magazine. I can’t write for SeattleDances until I’ve finished that one, as I need to be sure I’m giving those other publications content that is all their own. And when that’s done, there are so many other things to be writing about in March…

BUT, as I’m finalizing the review that’s due Wednesday, I find myself crying. It’s not out of writerly frustration. It’s because I’m reliving Vincent Lopez’s solo in Fragments.

Really, that is one of the exquisite moments of my life.

Didn’t everything just come together amazingly in that solo? Lights, costume (especially at the end when he drags it back on…in my personal narrative for this piece, there is significant conflict in this act. It’s as though the clothing reduces who he is. Perfect humans may not be…yes, we strive and grope in the dark, but let us not reduce ourselves further yet.), music, choreography, dancer…

This is one of the best parts of being a reviewer… Writing about a performance allows you to relive it.

If you want to do some reliving of your own, check out La Vie Photography’s website of photos.

Curious about Dance International? They have online content  and you can buy their quarterly print version at some bookstores in town.

Back to writing…crying…whatever…

One comment

  1. I first saw “Fragments” — the work in which Vincent Lopez’ remarkable solo occurs — when it premiered at Spectrum. At the time, Hannah Lagerway was performing that solo. I asked her about it after the performance, and she told me that the choreography, or at least a lot of it, is improvised. I later asked Olivier Wevers about this and received a cryptic answer: something to the effect that, yes, some of it is improvised, but that the improvisation occurs within a specified framework or set of requirements. Assuming that my information (or memory) is correct, I find it interesting and revealing that the passage in Wevers’ choreography that so many people find so moving and that they invariably point to as an illustration of his talent — the “Fragments” solo danced to the Mozart requiem — is the one in which the performer, rather than Wevers himself, has the most to say about the choreographic choices.

Comments are closed.