In May, Seattle experienced a major dance event with 53 performers on stage and Olivier Wevers producing his best work ever – Whim W’him’s Approaching Ecstasy. The 86-minutes of music was composed by Eric Banks in a Paris attic, and the poems sung a capella (again, for 86 minutes, in English and in Greek) by his 40+ member Esoterics, some of whom danced on stage as well. Banks wrote the music to 18 sensuous poems by the 19th century Greek poet Constantine Cavafy (the audience is treated to just 18 of the hundreds of superb poems Cavafy wrote). It took the composer, choreographer, and other members of the production team four years to get all those artists on stage – well worth the wait for such a memorable performance.

The astounding concert featured the haunting music of Banks and vocal performance by his Esoterics, Seattle masters of contemporary a cappella. The choral setting that Banks provided for Cavafy’s erotic poems was, quite literally, a masterpiece – 18 vignettes, with Wevers’ 18 pieces of choreography – a rightful homage to the closeted gay poet. Every detail of the performance paid tribute to this 19th century quiet man-hero, who lived his life in an office, in a business suit (similar to the one the 53 performers wear on stage). The eerie scenic design, the underplayed overhead lighting, the gut wrenching music expertly played by the St Helens String Quartet (led by the magnificent Michael Jinsoo Lim) – all were utterly remarkable At the premiere, the music and chorus were beautifully amped and the dance was understated, striking.

Wonder how this will play in Europe.

For dancer Lucien Postlewaite, this was his last performance for Whim W’him (and husband Olivier Wevers) as a Seattleite (he joins Les Ballets de Monte Carlo in August). Their professional and love relationship is so strong, it is clear it will thrive, even as a multicontinental one (see my articles in February ( and July (forthcoming) issues of Dance Magazine. For now, Wevers focuses on his major upcoming gig at the Joyce, and commissions worldwide – while young Lucien is Europe-bound.

Ecstasy. It was indeed provided by dancers Jim Kent, Tory Peil, Shane Ohmer, Lucien Postlewaite, Andrew Bartee, Chalnessa Eames, and Kaori Nakamura (who, herself, plays the ephemeral ecstatic state). Kudos to these daring dancers and their inspired choreographer. Anastasia Armes costumed the huge stage ensemble, Jeff Forbes created the 19th-century feel and singular ambience, and Casey Curran set the stage for a shocking piece that deserves a five-year run in some theater, in some lucky city, in some welcoming country.

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A shorter version of this review appears at

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