Larry Arrington & Alexa Burrell:
w o w
m o m
Friday, April 29 & Saturday, April 30, 2022 | 7:30 PM
Digital Encore Friday, May 20 | 6 PM
Tickets on sale now ►
w o w
m o m
is the final presentation of Arrington's time as a Theater Resident Artist at ODC. Bearing the mark of Covid's mutable timeline, this work has shape-shifted over the last two years. Originally planned as a work digging into performing hypothetical imaginings of Demeter/ the Eleusinian mysteries and myths of chthonic quests as a means of metabolizing the myriad disasters and joys of our age. Since then, the joys and disasters keep unfolding and the work kept absorbing them.
Larry's work sits at the intersection of her work in astrology and dance. Settling on the weekend of Jupiter, Neptune, and Venus's meeting in Pisces. The myth of Aphrodite/Eros transmutation into the two fish of Pisces became another centerpiece for the work. The meeting of these planets in the celestial waters of Pisces (and simultaneous sextile from Pluto and the eclipse) seems a potent pool to dissolve it altogether. The centerpiece of the work is a film created by Burrell and Arrington bolstered by portions of live performance. The work, like the astrology, is a constellation of incredible collaborators. This work is made in concert with Maurya Kerr, Clement Goldberg, Brontez Purnell, Chelsea Reichert, Grisel Torres, Keith Hennessy, Gizeh Muniz-Vengel, Amy Wasielewski, and Joel St Julien.
This project marks the completion of a Theater Resident Artist from the 2018-2021 cohort whose residency was delayed due to COVID-19.
All ticket sales are final. Performances, dancers, and guest artists subject to change.
ASL interpretation will be provided at Friday, April 29 show with performed text. Please contact the ODC Box Office with accessibility requests or questions email@example.com.
Header Image c/o Larry Arrington
This project is made possible in part by grants from the Kenneth Rainin Foundation and The Creative Work Fund, a program of the Walter and Elise Haas Fund that also is supported by The William and Flora Hewlett Foundation.