FALL ’26

KAYLA FARRISH
ANNIE RIGNEY
JESSI STEGALL

 

SEP 11 – 19, 2026
ERICKSON THEATRE

Founder & Artistic Director: Olivier Wevers
Executive Director: Mink Boyce
Audience Services Manager: Morgan Romero
Studio Manager: Devin Oshiro
Venue Manager: Leah Crosby

Production Stage Manager: Becca Blackwell
Lighting Designer: Michael Mazzola

Good Measure

Choreography: Jessi Stegall
Dancers: Jacob Beasley, Owen Fulton, Stella Jacobs, Aliya Janov, Jemoni Powe, Ashley Rivette, Yoshi Sanders
Music: Meredith Monk, Cluster, Ariel Marx, Beastie Boys
Costumes: Jessi Stegall

ALMOST

Choreography: Kayla Farrish in collaboration with artists
Dancers: Jacob Beasley, Owen Fulton, Stella Jacobs, Aliya Janov, Jemoni Powe, Ashley Rivette, Yoshi Sanders
Original Score: GENG PTP
Costumes: Kayla Farrish with additional support by Kevin Lloyd

Additional Collaborators who supported the choreographic research of this new work: Jamal Abrams, Donterreo Culp, Claude Johnson, Quaba Ernest, Kendall Ramirez, Kar’mel Small, Jessica Smith

“We must believe it’s true.”

Choreography: Annie Rigney
Dancers: Jacob Beasley, Owen Fulton, Stella Jacobs, Aliya Janov, Jemoni Powe, Ashley Rivette, Yoshi Sanders
Music: Luciano Berio, Ludwig van Beethoven, Tomaso Antonio Vitali
Costumes: Annie Rigney

RUNNING TIMES

(in minutes)

Program 94 min

Good Measure

 22 min
INTERMISSION 15 min

ALMOST

 21 min
INTERMISSION 15 min

“We must believe it’s true.”

 21 min
Program 94

Good Measure

 22
INTERMISSION 15

ALMOST

 21
INTERMISSION 15

“We must believe
it’s true.”

 

 21

CHOREOGRAPHER’S NOTES

Good Measure

Between ancient ritual and small ceremonies of the ordinary, this piece moves through the invisible architecture of belief: the things we do just in case, and the care we extend to forces we cannot name or prove. Dancers drift through rules that shift like superstition, and gestures that carry the weight of something larger than themselves. We are less interested in whether the unseen is real than in the human tenderness of behaving as though it might be.

ALMOST

ALMOST is a dance-theater study on our questioning, feeling, and activation, inside of a world that is fracturing. Looking at our current state, power systems, and reality as it comes apart…
How do we feel when the mirage/facade falls?
Holding darkness, eruption, truth, and the “underneath,” the conversation is prompted within and through conversation.
How can we confront, instigate, activate, and be with the mess, as we are a part of it?
It is the beginning of a sci-fi thriller…

“We must believe it’s true.”

A search for meaning amidst the spiraling chaos of loss, conflict, and existential dread. This work explores art’s expressive urgency and its ability to effect both incremental and profound change. Much of the inspiration for this work came from the music—Luciano Berio’s “Sinfonia” is a collage of Symphonies past, from Mahler, to Stravinsky, to Ravel, layered amidst a swirling text from Beckett’s play, “The Unnameable”. A lone male voice cuts through the noise and cries, “ … and they remind us all this can’t stop the wars, can’t make the old younger or lower the price of bread, can’t ease solitude or dull the tread outside the door…and tomorrow we’ll read that Beethoven’s 4th Concerto made tulips bloom in my garden and altered the flow of the ocean currents. We must believe it’s true!” We hope to discover that even unquantifiable expressions of beauty and intimate moments of connection can create ripples of influence that extend far beyond our perception.

We must believe it’s true

A search for meaning amidst the spiraling chaos of loss, conflict, and existential dread. This work explores art’s expressive urgency and its ability to effect both incremental and profound change.  
Much of the inspiration for this work came from the music—Luciano Berio’s “Sinfonia” is a collage of Symphonies past, from Maher, to Stravinsky, to Ravel, layered amidst a swirling text from Beckett’s play, “The Unnameable”.  A lone male voice cuts through the noise and cries, “ … and they remind us all this can’t stop the wars, can’t make the old younger or lower the price of bread, can’t ease solitude or dull the tread outside the door…and tomorrow we’ll read that Beethoven’s 4th Concerto made tulips bloom in my garden and altered the flow of the ocean currents. We must believe it’s true!” 
We hope to discover that even unquantifiable expressions of beauty and intimate moments of connection can create ripples of influence that extend far beyond our perception. 

POST SHOW
Q & A

Be curious!

Stay after the performance for a Q&A session with the artists of Whim W’Him!

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