What drives Olivier Wevers’ choreography?
“I don’t,” he says, “remember a spark…”
A series of conversations with a Seattle journalist—on life, the creative process,
insecurities, wishes, pet peeves and artistic passions.
Olivier’s most personal work yet, set to original music by Brian Lawlor.

Wevers’ voice-over obsessions aren’t just focused on himself but on the “amazing understanding” his dancers have of their bodies — an understanding they show off expertly throughout “Spark,” in shifting configurations that don’t overtly illustrate the text, yet seem to comment on it and synchronize with it obliquely.

Michael Upchurch, Seattle Times

Spark’s greatest strength was its partnering choreography. The five dancers moved together like an amoeba, but their individual movements were direct, with defined edges. Duets between Bartee and Peil crystallized the subtly manipulative—and human—aspects of the dance.

Anna Waller, Seattle Dances

The choreography is gorgeous—effortless lifts, strong group work, a weightless moment when Peil is dragged around the stage on demi-pointe. Despite the specific theme, Wevers has returned to a more original “Whim W’Him” look. He is not trying to follow a storyline, or make the choreography fit into predetermined lines—it is him at his barest, his using the dance as a lens into his life—and that is when he is at his most brilliant.

 Rachel Gallaher, City Arts Magazine