Red Eye Theater

artists wielding performance as weapon towards creating cracks in illusions of empire, settler colonialism, and whatever else is in the way

This production contains frequent explicit language. It includes discussions of American Indian boarding schools, child abuse, physical abuse, and sexual abuse, and also addresses themes of intergenerational trauma, grief, and violence. This production includes loud gunshot sound effects, sage smoke, flashing lights and sudden loud noises that may affect some audience members.

is based in Portland. Minneapolis has shaped her — she has spent years dancing and teaching — Allie has taught in MN, danced in the work of MN choreographers and was a participant of SCUBA (now closed) when the program was grounded at the Southern Theater. Her return through KIN brings

— a triptych of movement experiments spanning before, during, and after the global pandemic. Drawing on double dutch as life skill training, Afro Futurist aspiration, and the hard-won wisdom of collective fallow, Oliver's work asks what we have summoned through difficulty — and what we owe ourselves as we return to moving, remembering, and recovering for a world anew. Cynthia has deep ties to this region, and her arrival here is a return as much as a debut.

' newest queer tragedy — a holesome, sci-fi dreamscape about fatherhood, grief, and what it means to make the world better when you're not sure you can.

— a fully improvised duet. This piece is the most hopeful survival strategy they can muster: Make it up again and again. Believe in body, dancing and each other. Listen, and try to do it differently than you ever did it before. The duo has been part of the Twin Cities experimental performance world for decades — and part of the Red Eye ecosystem specifically for nearly thirty years. Their KIN partnership is the continuation of a research relationship that long predates any formal commission. They are thought partners, experimenters, and co-builders of what Red Eye has become. The first to say yes to trying something new. Part of what this place is made of.

Closing out her time as Red Eye's OMNIVERS Artist in Residence, Marcela Michelle continues her transdisciplinary research into concepts of Pointillism, Parallax, and Phenomenology as applied to Dance and Performance. A multidisciplinary team of artists assembled and led by Michelle will be engaging in simultaneous creation, available to each other's processes and choreographies. The experiment of simultaneous creation, including technical and design elements as leading efforts on the same plane as text and choreography, sits alongside the experiment of choreographing choreographers. Supported by Red Eye Theatre and Bridge Fund for Dance.