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drawing from life – Erin Schulz
And now for something completely different! On the surface, it would be hard to find paintings less alike than those of Erin Schulz and of Tom Barnes, whom I profiled last time. Both painters are [...]
drawing on the run – Tom Barnes
"The last of the great gaucho painters," he likes to call himself. His watercolor and ink drawing, Sexy Legs and Boots will be auctioned at Out on a Whim #4 November 3.* At some point [...]
Men in Dance – and MORE
At least as judged by some of the most renowned representatives of the species, men in dance have had fraught and convoluted inner histories. From Diaghilev and Nijinsky to Erik Bruhn, Nureyev, Antony Tudor, Balanchine [...]
rehearsing 1 – Olivier Wevers & Co
"This is one of those transitions you have to figure out bit by bit. Let’s analyze it to see what’s needed." Olivier Wevers, artistic director of Whim W’Him, stands frozen, as if playing a game [...]
dancing Lives— Lara Seefeldt 2
Whim W'him rehearsals began last June on a few days notice for Lara Seefeldt. The piece was CRAVE, Annabelle Lopez Ochoa's second premiere for the company. And Lara found the experience a real challenge. After [...]
dancing lives— Lara Seefeldt 1
Welcome back to Behind the Scenes! Lots of exciting news, new dancers, new works, and new Whim W'Him directions to talk about this fall. So with no further ado, let's begin—by introducing dancer Lara Seefeldt! [...]
transition!—Lucien Postlewaite
This summer is a complicated juncture in the life of Lucien Postlewaite, one of Whim W’Him’s core and founding members, who is leaving in a few days to join Les Ballets de Monte Carlo. It's [...]
words & dance— Hedda at Intiman; does it work?
Although I first read Hedda Gabler long ago on a play-reading binge in high school and have done so several times since, last week, at Intiman Theatre’s Summer Festival, was the first time I’ve ever [...]
only connect—Annabelle Lopez Ochoa
Annabelle Lopez Ochoa’s previous piece for Whim W’Him, Cylindrical Shadows (further developed this last spring for Pacific Northwest Ballet) was grave, elegiac. Set mostly to beautiful, classical music, it offered a mournful but ultimately serene [...]
Hedda in motion
It never occurred to me before last night, why Henrik Ibsen set his play Hedda Gabler in autumn, rather than the dead of a northern winter or during its brilliant summer. Autumn is a restless, [...]
About the writer
Victoria Farr Brown is a former historian, a writer, now mostly of fiction, and a long-time lover of dance. She has written about Whim W’Him from its first steps in 2009.