“seVen” is hot. It kicks total ass! This is the first piece by Viscera Dance Theatre to employ strict counts. We have never worked this way before, because we either don’t use conventional music at all, or we feel the music rather than count it. Who knew? At any rate, this piece was commissioned to be part of a series of works that each focused on one of the seven deadly sins. Our dance, however, was required to include all seven of them in one piece (in order: Lust, sloth, pride, gluttony, envy, greed, and wrath). The music is by Puscifer, and the dance lasts four minutes.


“Gotta Have” is a loosely “choreographed” performance set to a spoken sound score that includes story telling, violin playing, singing, and the voice of our very own mascot: Sméagol! This performance was created as a follow-up to “Harness the Wind.” It is pedestrian in nature, makes use of a few repeated movement motifs, and touches on politics, environmentalism, romantic relationships, friendship, and the process of making work within Viscera Dance Theatre. It was really cool when Annie flipped Duke Energy off, and the audience started cheering for her!

“Harness the Wind” was a street performance that took place across from Duke Energy’s property at the Charlotte Panthers/Bank of America Stadium on International Day of Climate Awareness. The theme of the presentation, as set by Greenpeace, was clean wind energy. For the outdoor presentation, Annie was dressed as the embodiment of a wind spirit. She blew bubbles; allowed children to play with bubbles and pinwheels (mini wind turbines); and had invited friends hold signs in support of green energy.

“V&B” is part of a wider project (including a separate photo shoot involving an exotic dance pole and a variety of memorabilia from the actual relationship) that served as a cathartic healing experience after the end of a long term relationship. It is autobiographical in inspiration; however, it has been choreographed in such a manner as to be more readily accessible to anyone who has ever experienced disappointment, loss, or abandonment at the hands of a significant other. Music by Tori Amos. Choreography: Annie Vereen. Performance: Jack Kirven and Annie Vereen.


“Lady Justice” is a piece of street performance that was created as a self-repeating cycle. It was staged as part of a two-pronged demonstration to protest both against the arrest and trial of Ken Davies and for the City of Charlotte’s choice to honor Jim Rogers (CEO of Duke Energy) as citizen of the year. At issue was Davies’ arrest for trespassing while protesting against Duke Energy’s decision to construct a new coal-fired energy facility at Cliffside. The day of the trial was also the day of Roger’s civic honors ceremony at the Charlotte Convention Center. That same day the charges against Davies were dropped while the protest was happening (and after Rogers himself was called to testify by Davies), but the second protest was still staged in honor of Jim Rogers, dubbed by local environmental activists as “Hypocrite of the Year.” The cycle depicts Lady Justice’s scales being thrown off balance by a coal executive. She is weighed down, laughed at, and then finally stands back up and forces the coal monger to clean up his mess. The cycle then begins again.

“Suites for the (bitter)sweet” is a collection of dances set to music by Led Zeppelin that focuses on some of the ways in which love can become dysfunctional. The suite currently includes five dances. The themes are infidelity, manipulation, codependence, disinterest, and jealousy. “Suites for the (bitter)sweet” is conceptualized as being part of the work-in-progress that will make up the on-going Viscera Dance Theatre Winter season. Choreography and Performance: Jack Kirven and Annie Vereen. Nominations: Metrolina Theatre Association (2009), Outstanding Duo.


“The Dance of the Abominable Snow Woman” was choreographed as part of a special theatre project for Halloween of 2008. During the 2008 election season a particular political figure contributed to a widely polarized attitude throughout the nation. She is parodied during this multi-media performance experience as the star performer in a circus side show as an incredible freak of nature.


“Path” is a multi-media retelling of “Little Red Riding Hood.” The performance is the first half of the work-in-progress entitled “Eternal Return,” which is conceptualized as being the work-in-progress that will make up the on-going Viscera Dance Theatre Autumn season. The other half of “Eternal Return” is “Oven,” and is a retelling of “Hansel and Gretel.” Within “Path” there are 21 separate evolutions that take place over seven scenes. The costume, sets, lighting, characters, dance, sound score, and video component all change from scene to scene as the tone goes from happy fairtale garden to stormy haunted forest. We do not recommend that children under 16 be allowed to attend this performance without their parents’ approval. Choreography and performance: Jack Kirven and Annie Vereen. Soundscore: Jack Kirven. Video: Jack Kirven and Annie Vereen. Nominations: Metrolina Theatre Association (2009), Best Actor and Best Technical Effect.


“21 Clichés” is a one-man-show that uses poetry, spoken word, dance, religious ritual, and story telling to describe the difficulties of being gay and trying to date in the Carolinas. It is absolutely autobiographical, and goes through the process of baring very personal details in an attempt to show that people of all genders and sexualities have similar needs, difficulties, and vulnerabilities. Of particular note, “For Ned, or: How to Touch a Kitten” has been performed extensively and utilizes a Tibetan singing bowl poured as a single piece of quartz crystal. Choreography and Performance: Jack Kirven.