All work created by Alisia Waller unless otherwise noted. All work improved by performers, noted or not.

"Little Friends"
SOWA Art Walk
Mobius, Boston
May 17 2009
Starring: Alisia L. L. Waller

A solo performance work lasting about 45 minutes. Balanced on my belly on a low stool I created a pattern of spokes, little "trails" behind a collection of my little animal "friends." Plastic, metal, bone. The trails were made of spices and grains. It was exhausting, probably helped to trigger two weeks in bed sick with shingles, but I'm very glad I did it. I was in tears by the end and found the whole experience a cleansing ritual. ALMOST worth the shingles. But not completely. Not much of anything is worth that much pain!

"Control Efforts: Ongoing (variable: candy)"
Dance Complex, Cambridge
May 15 & 16 2009
Starring Cat Murcek & Alma Baumwoll
Original accompaniment created & performed by Jon Francis Glancy

An innocent game that goes too far. A frightened person trapped like an animal. What it takes to push you or I from open & willing to brutal & deadly. All in about 10 minutes.
Come see And So No Sin's latest piece as part of the group show "Commit To Memory" at the Dance Complex in Cambridge. This particular piece has transformed from cute, funny and a tad opaque to a blatantly unnerving experience. I believe this dance has some of our best and most compelling choreography to date as well as extraordinary, powerful performances by company members Cat Murcek & Alma Baumwoll. Accompaniment has been composed & will be performed live by John Francis Glancy. As we've come to expect, he has brought compelling new dimensions to the work with his sound creations.

"Skin" & "Dog Duet Prologue"
Eventworks
MassArt, Boston
April 25 2009
Starring Cat Murcek & Sunny Hitt

The first public performance of any part of our large work-in-progress "Endlessly Dancing In The Midst of a Throng You Intend To Devour." "Skin" is the story of a hunter and a blood-dragon and how they transform into one another. I find it mesmerising every time I see it. And I dare anyone to not be at least a little intimidated by Cat's Velocoraptor impression. The reprise of "Dog Duet Prologue" was an experiment that didn't quite work, not at all because of the performers, who were wonderful, but the structure. I'm glad we tried it out (taking turns in the "teacher" role, using poses instead of movements) but it was just too easy. The delight of the "Prologue" is empathising with the struggle of the learner. It's no fun without a struggle!

"Dog Duet Prologue"
Rapture
MassArt, Boston
March 27 2009
Starring Sunny Hitt & Alma Baumwoll

An exciting night of performance art curated by Ian Colon. This was Sunny's first crack at the Dog Duet Prologue performance structure with Alma keeping her usual role as the "teacher." They were extraordinarily good, really allowing the performance to exist in real time and space. Not an easy thing. There was a lot of great, weirded out almost outraged response which, considering the very Performance Art crowd I took as a real compliment. The other highlights of the evening for me were Dirk Adams' piece "about" Boston and sex and art. Very precise, tightly structured, multi-layered... Well-crafter performance can be so satisfying. Then, at the end of the night I was privledged to see Eugene Tan (Becca D'Bus) perform Material Girl with great swaths of material being pulled out of the anatomically correct crotch of her costume and, with audience help, encircling the room. A total delight!

"Mouth Of A Story"
Performance Work by Dirk Adams
the old bear cages at Franklin Park, Boston
September 6, 7, 13, 14 2008

I was delighted to act as "choreographic consultant" for this amazing piece. Please see http://www.templeofmessages.com/mouth/ for all of the fascinating details. It was sound art used as a guide to create a very site-specific movement work (among many other fascinating things). I was able to participate and adored it. Dirk's work is involving and enthralling and always worth seeking out.

"(do not) go gentle"
Explore, Emote, Express
Dance Complex, Cambridge
Starring: Alma Baumwoll, Cat Murcek, Sunny Hitt
Accompaniment created & performed by Jon Francis Glancy
October 10 & 11 2008

Though only seven minutes long, this jam-packed little battle-dance has gone from being a story about princes and ballerinas to having much more of a Xena Warrior Princess air about it. The choreography is theatrical, complex, character-driven and strives to be precise in its chaos with an edge of dark humor. Ballet, pointe work and hand to hand combat share choreographic space within the postmodern dance framework.

June 2008 Alisia L. L. Waller was awarded a 2008 Massachusetts Cultural Council Choreographers Fellowship

"Arches/Under The Arches"
SOWA Art Walk
Mobius, Boston
Featuring: Moving Sound (Grant Smith, Liz Roncka, Jane Wang) with Sandy, Jeff and Wilder Huckleberry, Alisia Waller, Video Artist Justene Williams (Australia) with Whitescape installation by Alice Vogler
May 18 2008

A Whitescape table installation by Alice Vogler, then a room-filling installation of string and tape by the Huckelberries. I moved, making marks with white chalk throughout the space. Then movement and sound improvisation from Moving Sound.

"God! Doesn't She Know JAZZ is the future?"
Shared Choreographer's Concert Dance Complex, Cambridge
May 9 & 10 2008
Choreographed by Avital Asuleen
Starring: Alma Baumwoll, Avital Asulee, Alisia Waller & Cat Murcek

This was a great little number by Avi. We had so much fun rehearsing and performing it. Lot's of flash and character and really fun, challenging choreography. Definitely a favorite project with a wonderful group of close friends. Also, I'm notoriously bad at creating titles but I take credit for this one and I'm very, very proud of it!

"For The Win"
Adventures In Game-Based Performance Art
Mobius, Boston
April 25, 26 & 27 2008
Featuring the work of: Elizabeth Cohen, Jon Francis Glancy, Amanda Loy-Jung, Markus Nechay, Jenn Pipp, Tim Stark, Andi Sutton & Kim Cowperthwaite also featuring performances by Shoshana Friedman, Sandy Huckleberry, Rachel Simon, Naomi Bennett, Margaret Bellafiore, Lois Waller, Jeff Power, George Moseley, Eli Gerstenlauer, Dirk Adams, Colleen Sentance, Cat Murcek, Brian Brown, Brian Rust, Avital Asuleen, Alma Baumwoll & Ainsley Waller.

What an adventure! The main thing to know is that every performer and contributor was extraordinarily wonderful. I didn't know how many amazing people I knew until I started putting this together. A lot of fun was had and we raised a good amount of money for Mobius in the process, too!
Some highlights: My sister Ainsley and Brian Brown fiercely upholding the rules of the box office. (You had to play a game and be labeled winner or loser before being allowed into the space.) Sandy Huckleberry gathering a crowd around my dis/ability - gender/question card game. Hearing the results of the two AMAZING performances afield: Eli & Shoshana's "Evil Genius & The Robots" and (the inspiration for this entire show) Baker, Peery & Foster's Library Infiltration as performed by my family and Jeff Power. Brian Rust's perfectly cheery, personable way with his musical Apples to Apples. The heated intensity of the "Draw Your Weapons" game (and Avi & Alma's outfits for it). Carrying all of Jenn Pipp's installation off through the rain to be recycled after the show... I could go on: White on White Twister (so fun and beautifully executed!), The State Race, which I'm still hoping to see refined and on sale at my local game shop, and Francis in a drum bag. What more could you want! Hooray to all of the performers and artists and the brave audience who came to be part of the show!

"John Cage's Variations VII"
Mobius, Boston
April 18 & 19 2008
Starring: Margaret Bellafiore, Lewis Gesner, Larry Johnson, Tom Plsek, Alisia Waller, Joshua Jade, Forrest Larson, David Miller, and Landon Rose

Our second performance of Variations VII, this time with me playing a more active collaborative role. And starring a styrofoam coffee cup amplifier made by MIT student Charlie Detar. Please see this illuminating text by David Miller for the real low-down about Cage's Variations as well as our specific performance. In addition, here are my very dry program notes:

Using a base-line of six initial choices I will be fishing for and sharing sound for this performance as well as controlling the lighting. My initial action will be to gather the cell phone numbers of audience members as they enter and asking them to please leave their cell phones on. All actions (excepting the volume of sounds and the length of certain play-times) are decided by chance, usually with rolls of between six and 30-sided dice or a flipped coin.

My possibilities for contributing to the performance are each a series of branching possibilities initiated by the roll of a traditional 6-sided die:
1. "Play" the cell phone ring tone of an "audience" member
2. Play through a boombox either a randomly chosen section of the radio dial or a section of sound tape recorded in the artblock building during the performance by Margaret Bellafiore
3. Ask, via cellphone, for an "audience" member to "gather" sound for me that I will then amplify, live, from the telephone into the performance space
4. Determine which lights in the performance space should be turned on or off or left as they are
5. Take no action for a randomly chosen period of time
6. Roll again

"Lamb"
Mobilize
Mobius, Boston
February 1 2008
Starring: Alisia L. L. Waller and the audience

This is undoubtedly one of my favorite performances of the past few years. A ritual of creation and destruction to celebrate something like Imbolc ie: the first signs of life. Lambing season. I provided the materials and asked the audience to create a lamb, which they did, many of them being art students, with great care. It was a very precious lamb. Life-sized, even. I then had the audience go back to their seats and I surrounded the lamb with concentric circles of its "gifts" to humans: meat, bones, blood, wool, feces, money... Then I took all of these back, gathering them into my pockets. Finally, I asked selected members of the audience to destroy the lamb. They ripped it to pieces. It was a very powerful and poignant performance for me and I look foward to doing it again some Imbolc in the future. As always with my pieces like this, it was the audience that made it truly extraordinary.

"Art Dog"
Artists Die-In
Outpost 186, Cambridge
January 13 2008
Starring: Alisia L. L. Waller

A fun and interesting night organized in response to some recently publicised recommendations that smaller arts organizations "rethink" their existence, essentially. So an Artists Die-In was organized where we, as individual artists and representatives of smaller arts organizations, could kill ourselves off for the good of the larger arts community. I performed as the Art Dog with my collar and Art Dog tag from 2006's "Teaching Your Dog The Basics."

"Zombie Protest"
Halloween!
Beacon Hill, Boston
October 31st, 2007
Starring: Avi Asuleen, Stephen Bailey, Naomi Bennett, Amanda Loy-Jung, Kelly McCoy, Cat Murcek, Brian Rust, Lois, Jeff & Alisia L. L. Waller, and and and

My dream come true. Last year a small group of my housemates & I went out dressed outrageously and planned to roam the Halloween-y Commons, perform, cause trouble etc. I quickly discovered that playing zombie was the best and most fun way to take advantage of the night. Anyway, as we wandered around we happened to stumble upon the Halloween World Of Wonder that is Beacon Hill on October 31st. The streets are blocked off, entire candy bars are given out, people turn their courtyards into haunted walkways and everywhere is jam-packed with costumed revelry and spooks. So this year, understanding the sitch, I set out to bring a gang of zombies to the hill. My mother (Lois) has been committed to being a "zombie supporter" at a zombie march for some time so I ended up gathering a group of pro-zombie/not-undead allies with fabulous signs. My mother was dressed as a Mummy and carried a sign that said "This Mummy Supports Her Zombie Children." My father was there to support zombie's equal rights. Cat Murcek lead the charge with shouted slogans and Avi really set a high standard for all of our shambling. We all learned that the zombie shamble is very hard on the gams when you keep it up for an hour or more on a hillside. Every performer was a wonderful sport. We kept up the chants and shouting the whole time, keeping in character beautifully, exceeding all expectations of awesomeness and gathering fans who wanted their pictures taken with us. The best was when we all sat down, exhausted, picket signs and all, only to discover that we had chosen good ol' John Kerry's abode for what looked for all the world like a pro-zombie rights sit-in. Much, needless to say, to the amusement of in-th-know passers-by. Thanks to all the performers and I can't wait 'till next year! Zombies are people too!

"Robot #3"
Where The Wild Things Are Performance Party
Sisterhood Coop, Jamaica Plain
October 26th, 2007
Starring: Alisia L. L. Waller

A fabulous Halloween evening. My performance, all in silly silver, involved audience control. I had a gamer die (I can't remember how many sides, but more than six) and a dance or movement associated with each number. I gathered willing participants into the front row and, with them taking turns, gradually gave them more and more power over me. The expected abuses and mercies followed. Extremely exhuasting and satisfying. Huge thanks to Amanda for the invite and co-organizing with her fellow sisters.

"What Do You See?"
South End Open Studios
Mobius, Boston
September 15th & 16th, 2007
Starring: Alisia L. L. Waller

A very long and difficult haul of a performance. I'm glad that I did it but have no desire to do it again. Though goodness knows I might. Four hours on Saturday because I cracked. Five hours Sunday. Standing outdoors (in New England, in September) on a tarp. In underwear and a camisole. It's raining on and off, I have a terrible cold. To my right is a gigantic pile (almost four feet) of clothing. Costumes. Wigs, shoes, corsets, tails, suits, tights, hats, ears. All from my racks and drawers. With me are five gingerbread men (really cheese-cracker people) meant to be eated one by one, one per cycle. One cycle consists of me taking each piece of clothing from the pile to my right, putting it on, taking it off again and placing it to my left. The costumes are being transferred through me. At some points each piece was put on one at a time, sometimes it was cumulative (one piece on then off, two pieces on then off...), sometimes audience members chose my outfits. My aim was random combinations. I wanted to know how I was being "changed" by my clothing without being able to look into a mirror to see the results. I wanted the faces of my observers to be my mirror. At some point I began walking at the end of each costuming, moving in response to the costume. Crawling if I had a dog tail or was wearing knee pads. Strutting in my high heels. At one point performance artist Joanne Rice began to imitate my every movement just inches from me, facing me, really being my mirror and reminding me that this performance was just another dance in my repertoire. A good chunk of my faithful audience, however, (watching from the building next door) thought the piece was about homelessness. Nolo contendere.

"The Cage Interviews"
South End First Friday
Thayer St. & Harrison Ave., Boston
September 7th, 2007
Starring: Alisia L. L. Waller & about a dozen "audience" members

An odd night in the hopping art center of the South End. Few participants (people actually entering the cage) but many long conversations outside of the cage. Many protests of claustrophobia on the part of passers-by, much sitting and trying not to look scary on my part. (Perhaps the wrong strategy.) My strongest image from this performance is, towards the end, a Praying Mantis came to visit. My attention was riveted there in the dark. A most extraordinary bug.

"The Cage Interviews"
ArtBea(s)t
Davis Square, Somerville
July 21st, 2007
Starring: Alisia L. L. Waller & about 30 "audience" members

Five hours of amazing interaction. My big dog cage was set up in a shady, tree-lined spot in Davis Square and for hours people were virtually lining up for their opportunity to see life from inside the cage. Each had the choice to go in alone or with a friend (three adults was the most I had at once), to have the door shut or open (they all wanted it shut), and for five minutes we just had a little chat. When it was over I gave them a memento, they drew a picture on my arm and the performance was done. It was such a pleasure. From a Mom and two kids snuggling up peacefully, to the boy who only kazoo-ed at me, never speaking, people shared with me insights, revelations, embarrassment, comfort, anxiety, peace, humor and love. Here's to the three young people smooshed all in a row, the people who had so many insights I didn't want to let them go, the person who drew the beautiful bunny, my Mom and Dad, all the children, adults and teens who made it such a wonderful day and performance. Come see me again soon! I miss you. :-)

"Dance Distraction 07 #4"
Part of Cambridge Dance Month
At the crosswalk at 77 Mass. Ave., Cambridge
May 31st, 2007
Starring: Jon Francis Glancy & Alisia L. L. Waller

This was the last of a series of four performances. I improvised dance and Francis improvised music on his bucket bass, as in each of these performances, but this time the format was much more dynamic. Timing ourselves to the MIT crosswalk we performed first on one sidewalk, then in the crosswalk, and then on the other sidewalk, never for more than a minute, it seemed. Each new circumstance, each crossing was a new piece, a new dance, song, performance. The crosswalk was a broad stage for leaps, turns, strides; the sidewalk was like dancing in the wings.

"Dance Distraction 07 #3"
Part of Cambridge Dance Month
On the sign for University Park at MIT, Central Square Cambridge
May 24th, 2007
Starring: Jon Francis Glancy & Alisia L. L. Waller

This was the most difficult of the Dance Distractions for me. We were performing on platforms above the ground, not a strong place for me, and when we arrived to perform our platforms were occupied by, shall we say, less than ideal audience members. Who did not want to move. I ended up dancing very angry, hurt, "stuck." Our configuration changed so that I felt very distant from Francis and we did not speak as we had for the previous improvisations. Many lovely pictures were taken, Francis followed the flow of my dancing with his bucket bass playing but I ended up leaving the performance feeling sad and spent.

"Dance Distraction 07 #2"
Part of Cambridge Dance Month
At the intersection of Mass. Ave & Memorial Drive, Cambridge
May 17th, 2007
Starring: Jon Francis Glancy & Alisia L. L. Waller

This dance distraction was, above all else, freezing cold. Thank you, New England. We waited all winter for winter and here it shows up in May. Being right next to the water and restricted to a small square of pavement (by our own rules) getting warm just did not happen. The conversation between us was silly and hard to maintain, audience interaction was awkward and odd, the music from Francis' bucket bass was inspiring and my dancing improv. flourished within the restrictions. My brave parents stayed to freeze through almost the entire thing.

"Dance Distraction 07 #1"
Part of Cambridge Dance Month
At the intersection of Main St. & Mass. Ave., Central Square Cambridge
May 10th, 2007
Starring: Jon Francis Glancy & Alisia L. L. Waller

The first, official, public performance collaboration between Francis Jon Glancy and me. He played his home-made bucket bass, I improvised dance and we had a wide-ranging and fun conversation about ... everything. The island in the middle of a crazy intersection was ideal for audience appreciation even if the perpetually-under-construction island was not ideal for the dancing itself. We had the sidewalk running between us and many people detoured to avoid us, whether to not disturb the performance or out of terror, we'll never know.

"Teaching Gender Anger"
Mobius "ArtRages" Fundraiser, Boston
April 14th, 2007
Starring: Catherine Murcek & Jim Banta

A tour de force 4+ hour piece performed (and costumed) by Cat and Jim. I re-taught (see the original "Gender Anger" below) Cat a piece of choreography a few days before ArtRages and had her notate it for herself. The choreography had accompanying text, as in the original. Upon arrival at ArtRages at approx. 8pm Cat taught Jim the piece. Once he had learned it they began to recruit audience members, one each, to teach the dance to. Once their "learners" had learned the dance they became "teachers" and were instructed (with the guidance of their "teachers) to find a "learner" of their own. Thus two threads of the dance built up, one originating from Cat, one from Jim. Jim and Cat acted as guides and helpers, answering questions about the dance when asked, and beyond that it became an experiment in the changing and evolution the occurs as text and movement are passed from one person to another. By the end of the night Jim's thread had three or more people learning the dance at once and it had become a line dance or hip-hop of some sort, having originated as postmodern combat dance. Cat's thread, still being passed on one at a time, had kept much more to the original, owing, I think, to Cat's strong feelings of ownership towards the choreography, having dedicated many hours of her life to it previously. It was hard not to interfere while watching throughout the piece but it was well worth it when the last batch of "teachers" taught my extremely altered dance to me, virtually unrecognizable, but retaining it's pride, at the end of the night.

"Variations VII"
New Art Center, Newtonville, MA
March 24, 2007
Alisia L. L. Waller assisted David Miller in performance

I assisted David Miller in his portion of this performance of John Cage's Variations VII. My role was to use his recorder to gather in-the-moment sounds from just outside the performance space (or down the street as far as I could get) five minutes at a time, bringing them back for him to integrate into the performance. Much running through the rain, a thoroughly enjoyable experience and performance.

"Gender Anger"
Mobius International Festival of Performance Art, Boston
November 4 2006
Starring: Catherine Murcek & Alisia L. L. Waller
In conjunction with MIFPA Ms. Waller gave an artists talk at The School of the Museum of Fine Arts, Boston and was an artist participant at the MIFPA symposium at the MFA

My first performance with Cat Murcek. For four hours I taught Cat a dance. On dirty concrete. That is all. The dance was long, complex and made somewhat arbitrarily. Every phrase of movement had an arbitrarily placed phrase of speech to be spoken simultaneously. The speech was text from an email Jim Banta had sent me as part of our conversation about whether I should cast him in the dance or not. Many, if not most people in the performance space did not even know that we were performing. Cat danced and learned beautifully and with extraordinary strength, intelligence and tenacity. She was never able to perform the entire dance for the audience as she finished learning it just as our time ran out. An excruciating and (for me) successful exercise in experimental art.

"If The People Are Hungry..."
Fort Point Channel Open Studios Performances at Mobius
October 13-15 2006
Starring: Alisia L. L. Waller

After going through several versions over the course of "Open Studios" this performance came out as something I really enjoyed. On the 15th I made pierogies on a table in Mobius. While making and serving this food I talked with the people there about hunger. What happens when you get hungry? What is the latest research about hunger? Are you hungry now? Do you even know when you're hungry? How do you know? What do we do about people who are hungry? The conversation ranged far and wide and the performance itself was a pleasure. Inspiration for the later piece "The Cage Interviews."

"Can't Be Saved or, Sebastian"
TEST 10 at Devanaughn Theatre, Boston
July 21-22 2006
Performance by Alisia L. L. Waller
Video art created by Alisia L. L. Waller with support from Stephen Bailey

Sitting inside a comfortable cage for the entirety of the TEST performance art showcase I did not speak. I looked, I interacted, but I did not speak. Inside the cage with me was a television playing a piece of my video art depicting myself as an animal in danger, imaginary animals in danger and a few actual animals caged or crossing streets. On the outside of the cage was text explaining that I was up for adoption, I would be put to sleep soon if not adopted, and that my requirement for care are, in so many words, un-doable. The first night of the performance I had a friend on hand to keep an eye on me. I was not very interactive, sat, enjoyed myself such as it is. The second night I did not have a set "protector" and was attacked inside my cage by a person with a stick. The performance "The Cage Interviews" is a response to this performance and to that attacker. Many thanks to the person who sat beside me after the attack. I felt a sense of silent protection that aided me greatly.

"Teaching Your Dog The Basics"
InBetween: City Hall Plaza presented by Mobius
May 28 2006
Starring: Brian Rust & Alisia L. L. Waller

This was, as I recall, four hours in a full doggy fur-suit (with a frequently malfunctioning tail) on all fours, on a leash as the ART DOG. I was given treats, learned tricks and absolutely horrified tourists. (Favorite quote: "What are you forcing that little boy to do!?!?") It was difficult and very strange, not perfect by any means but a good solid piece nonetheless, thanks especially to my "trainer" for the day, the estimable and infinitely good sport Brian Rust. He worked the passers by like the pro he is and made it work as a piece of public art. Meanwhile, I played with toys and went on walks. What an experience...

Approximately 40 Original Drag Performance Pieces
TraniWreck Cast Member, presented by Truth Serum
Jacques Cabaret, Boston
April 3 - November 20 2006
Alisia L. L. Waller

A wonderful experience where I made friends, got to see some extraordinary drag performers and worked my little cross-dressing butt off. All praise to Aliza Shapiro for TraniWreck and the overall awesomeness it represents. I don't think my performances are generally not what the TW audiences crave but it was sure fun to be a king while I had the chance! Shout-outs to Miss Nicholle Pride, Nomi Sparks, Vizible Gayze, Miss Georgette & Katya. Be sure to go see TraniWreck and every other exciting thing from Truth Serum.

March 2006 Alisia L. L. Waller became a member of the Mobius Artists Group

"Where Betty's Loyalties Lie"
Shared Choreographer's Concert at The Dance Complex, Cambridge
May 13-14 2005
Starring: Renee Farster & Alisia L. L. Waller

Two sections of our "Femme Domme Suite" brought together to tell a slightly sordid backstage story. Originally choreographed to the works of Betty Hutton (as was the entire Femme Domme Suite) through the Shared Choreographer's Conert mentorship process this ended up being performed to the songs of Jelly Roll Morton. A little slight but wickedly choreographed and executed with panache and flair by the wonderful Renee Farster.

"Femme Domme Suite" Showing
Boston University Playwright's Theatre, Boston
Presented by Queer Soup
July 18 2005
Starring: Renee Farster & Alisia L. L. Waller

This was a real delight and thanks are owed to Queer Soup for making this performance opportunity available. As I recall we got very interesting feedback and an opportunity to show off all of our hard work in a very nice performance space to boot!

"Bird Sightings"
Studio Soto, Boston
May-June 2005
Sculpture and performance by Naomi Bennett & Alisia L. L. Waller

The culmination of a lot of work for Naomi and I. A large, intricate model of the Tea Party Ship and Museum on the Fort Point Channel as it was (post-fire) made with care and love and populated by a host of sculpted birds. The installation included water and we performed during the opening, giving our little duck and swan water puppets life in the tiny world we had created. I'm very proud of the work Naomi and I did on this. Very challenging but satisfying and beautiful.

"Femme Domme Suite"
Eventworks 2005 at Massachusetts College of Art, Boston
April 29, 2005
Starring: Renee Farster & Alisia Waller

This was a showing of a good chunk of the Femme Domme Suite along with some of my video works created just for this performance. We not only performed our dances as choreographed to the music, we did at least one version of "floating tongues" where we performed the dance while trying to keep speaking, stream of consciousness style, the entire time. That's an exercise that always fascinates me. The video works are, unfortunately what many audience members remember of this night. I created at least two pieces using actual crime-scene photos from a textbook I happen to have. I've been told this was "a bit much" even for my loyal fans. The dancing was meant to be the real star, though and we performed very well. A pleasing show overall.

"Riot" (Revisited)
Mobius 25, Boston
May 29, 2003
Starring: Alisia Waller

Not funny, tragically. Same music and pauses in music as
previous "Riot." Almost the same costumes. This time it is all
solo, the first section being the male victim, the second
section being the dancing me, and the third section being the
female attacker. An experiment in solo combat, mildly
successful, I wish it could have been better for a grand
farewell to 354 Congress St., And So No Sin's real home. Oh, and
when I took off my shirt onstage my friend Liz Gwinn wolf
whistled then my Mom wolf called and then my Mom said "it's your
mother." Weird.

"Give Me Back My Coat, Jim!"
Midway Cafe, JP
March 21, 2003
Starring: Jim Banta, Alisia Waller

"Just" a fight. Jim has stolen Alisia's coat. It is excessively
fancy. They battle to the death and she rips the coat off of
him, whomps him across the back with it and knocks him out. He
is left on stage far too long as the next act sets up around and
on top of him. Features the beloved "my elbow is my weapon"
attack. Alisia's victory in her Dissenting American Flag cowboy
hat brought cheers of "USA! USA!"

"Riot"
Mobius Movement Works in Progress, Boston
February 28, 2003
Starring: Tory Root, Alisia Waller

Dances. A duet and two solos. Performed to music (specifically
by Robyn Hitchcock, L7 and Betty Hutton) and dealing with
feminism, violence and fear. Riot was excruciating for Alisia to
put together, but the L7 solo was much beloved by the audience
and Tory was a real hit (and beautiful too). Also, onstage
nudity, funniness, a suit, a dress and my beloved hot
pants/garter belt/leg warmers/"more fat chicks" T-shirt
ensemble. Faboo.

"Seven Acts of Violence"
Mobius, Boston
January 10-12, 2003
Starring: luQ, Han Yu, Alisia Waller
LIghting Design: Nick Vargelis

This was a full-evening show about the violence in my (Alisia's)
life. It was mostly stage combat narrated by Alisia on a ladder
with elaborate lighting by Nick Vargelis. yay! The performing
was almost all done by luQ and Han who worked far too hard,
perhaps, and deserve great praise and a lot more money. Notable
for the raucous laughter of the audience during sections
intended to be heart-wrenching.

"Channeling Heroes"
Fort Point Cultural Coalition Public Art Series, Boston
June, 2002
Starring: luQ, Han Yu

Created for the Fort Point Cultural Coalition's second annual
Public Art Series, this is yet another comic book inspired piece
for And So No Sin. Super Art and Super Commerce (what else?)
battle to the death (or at least the pain) all along the Channel
during various rush hours for an audience of both suits and
berets. Spouting over-the-top dialogue in true, corny super-dood
style, they will use hand to hand combat to dramatize the
current and ongoing conflict between major Fort Point Channel
landowners and New England's largest artist community,
essentially vying for the same turf in an uneven battle of wits,
brawn and cash.

"What the Sphinx Thinks"
Shared Choreographer's Concert
Dance Complex, Cambridge
May, 2002
Starring: luQ, Han Yu

A barroom brawl between a woman and a man using violence as art
and fight as dance. Between blows, she recites a feminist
lampoon of the classical world while he exposes (verbally and
physically) the stage combat tricks behind their seemingly
painful, fierce brutality. Postmodern dance, speed, fury, humor,
politics, blood. I love this piece.

"If You Close Your Eyes, It's Sound Art"
a.i.m. presents the sketchpad
Zeitgeist Gallery, Cambridge
(moved to the Dance Complex after fire gutted the Zeitgeist)
May, 2002
Starring: Kathryn Acciari, Winston Yu, Lizzy-Ray Bingo, Jim
Banta, luQ, Alisia Waller

A room full of blindfolded people, a gang of weirdoes skulking
among them waving toy guns and slapsticks, shouting and dancing.
Having been invited to participate in an experimental music
series at the Zeitgeist Gallery (which proceeded to be gutted by
an electrical fire a week before this show), faced with a
gallery made for sound, not their brand of raucous movement, the
troupe had to make a plan. What emerged is an amalgamation of
disturbing theatre, absurdist dance parody, political
improvisation and mock interpretive dance, all for an audience
who can't see a thing.

"SPFO Xmas Show"
COLLABORATION WITH MERGED INTEREST
December, 2001
Roxbury Community College, Boston
Starring: Jenn Pipp, Alisia Waller
Choreography by: Jenn Pipp, Alisia Waller

Alisia Waller + Jenn Pipp donated their skills and
oh-so-valuable time to better the holidays of underprivileged
children of Christian families. They choreographed and performed
dances to popular music as well as slapstick routines for
children. They contributed heavily to the many group dances
performed to the soundtrack of "Priscilla, Queen of the
Desert."

"Krazy Kat"
November, 2001
Mobius "ArtRages" Fundraiser, Boston
Starring: luQ, Lizzy-Ray Bingo, Fat Old Uncle Shoe, Alisia Waller

From George Herriman's cartoons to your front door, watch Krazy
Kat and Ignatz Mouse battle it out with bricks to the head and
love in the heart (well, one heart at least). Taking exact
panels from the classic cartoons and translating them into fluid
dance, movement and slapstick fun, you can witness the
tragicomedy of the Kat who only understood love in the form of a
brick and the Mouse whose hate kept him throwing them.

"ConglomoCo. Employee Appreciation Night"
COLLABORATION WITH MERGED INTEREST
October, 2001
Mobius Art Space, Boston
Starring: Ray Misra, Sarah, Robyn, Natalia S., Lizzy-Ray Bingo,
Justin McIntosh, luQ, Jenn Pipp, Alisia Waller

[Please excuse this long description. It's just too good.]
Pipp and Waller bring to life their hilariously horrible vision
of a corporate gathering. The show begins as a dull Power Point
presentation lauding another successful year at ConglomoCo.
After the audience has fallen into the dull rhythm, wild song
and dance numbers interrupt the monotony, including Technology
Will Save the Day, the Janet Jackson dance and other ConglomoCo.
classics. At intermission audience members are offered samples
of the New Snapple Extreme only to find pools of blood and tied
up executives in the lobby. The Presentation continues by
describing the newest addition to the ConglomoCo. product
family, Snapple Extreme, a beverage that makes people violently
ill for sport. People disappear, scapegoats are beaten, blood
pours out of the Power Point animations, questions are asked,
and conspiracies are quelled. Finally as the bedlam peaks a line
of menacing tap dancers on cell phones charge the audience, an
executive howls, a phone explodes into blood. But none of this
is noticed by the presenters who then proceed to send their
firmest congratulations to the audience (the ConglomoCo.
employees). The evening ends as they offer delicious hors
d'oeuvres like Spam canapés. Don't Stop 'Till You Get Enough by
Michael Jackson permeates the air.

"Dance with Plush Keyboards"
COLLABORATION WITH MERGED INTEREST
March, 2001
Mobius "ArtRages" Fundraiser

Using homemade plush keyboards (and the plush mice they attached
w/ strings), Pipp and Waller battled on the dance floor to the
delight of record crowds! The plush keyboards were pure Pipp,
who is a genius.

"Outdoor Kamikaze Dances"
March, 2001 - January 2002
throughout Boston + Cambridge
Starring: Leighsa, Jenn, Ray Misra, Tom, Kim, Monique, Stephen
B. Bailey, luQ, Lizzy-Ray Bingo, Jenn Pipp, Alisia Waller

The Kamikaze wing of the And So No Sin Performance Troupe met
weekly with an ever-changing roster of fabulous performers.
Rehearsing for one hour + performing for the next, they
struggled continuously with ideas of commitment, performance,
group dynamics... you name it. Let's just say it was a learning
experience for all.

"The No Talent Show"
COLLABORATION WITH MERGED INTEREST
October, 2000
Mobius Art Space, Boston
Starring: Justin McIntosh, Jim Banta, Natalia S., Jenn Pipp,
Alisia Waller, with special guest stars the great Jamie O'Brien
and the fabulous Ben McCoy

The "No Talent" show was And So No Sin's first full-evening
show, a rousingly successful mix of performance art, dance,
clowning, storytelling, audience participation, pantomime, stage
violence, sound art, video and microwaved babies.

"BBQ Brawl: Commissioned Fight"
COLLABORATION WITH MERGED INTEREST
Summer, 2000
Bought at Mobius Auction
Starring: Jenn Pipp, Alisia Waller

Under the guise of a cat sitter and cat sitter's roommate Pipp
and Waller disturbed an actual, pleasant anniversary bbq with a
wacky fake fight (resulting in Pipp's complete immersion in
ambrosia) and some choreographed slow motion dances. Followed up
later with complaining emails from guests. We had okayed all of
our behavior with the happy couple, but I guess they misjudged.

"Multiple Weekly Outdoor: Dance Distractions"
COLLABORATION WITH MERGED INTEREST
May, 2000 & 2001
Cambridge Dance Month
Starring: Jenn Pipp, Alisia Waller

Waller and Pipp terrorized the crosswalks of Mass Ave (and
their knees) with happy dances, arm dances, improvs, stuffed
animals and spray-painted props. They once even used the
proceeds to help finance a trip to the Philadelphia
Fringe Festival!

"Teach-Dance-Brawl"
COLLABORATION WITH MERGED INTEREST
March, 2000
MIT Miters, Cambridge

Pipp and Waller's first public choreographed fight. Based on
Jackie Chan movie moves, involving the ripping off of shirts and
lipstick war paint, this was a corker. They started by teaching
the reluctantly packed-in crowd a little hip-hoppish dance. An
argument ensued involving the instructions, someone yelled
"everybody sit down!" and they fought. Almost perfect except one
audience member injury and one heckle.

"George and Martha"
September 9, 1999
9.9.99 Fundraiser, Dance Complex, Cambridge
Starring: Maureen Healey, Natalia S.

Inspired by "Who's Afraid of Virginia Woolf" by Edward Albee and
the film version thereof. So good, so sick, so amazing.Nine
times dear George and Martha try to love one another, almost
every time ending in extreme violence and/or death. They make a
baby, tie themselves together, try to love through blindfolds,
handcuff themselves into a waltz, exchange gifts and longing
glances and even kisses. Each section has its own musical
selection and gunshot wound.

"A Quick Whiskey Shot of Sin"
December, 1998
Mobius Movement Works in Progress, Boston

A dance with a cast of six based on sports photographs. No
narrative, didn't quite work.

"Petrouchka"
November, 1998
Mobius "ArtRages" Fundraiser, Boston
Starring: Hillary, Lee, Alisia Waller (although one didn't show,
I don't remember which.)

The first official performance of the old And So No Sin
Petrouchka obsession (first mapped out on a Burger King napkin).
Danced in a tiny room to a full (and very appreciative) house by
2 of the 3 cast members (1 didn't show).

"It's Just a Slugfest"
October, 1998
Shared Choreographer's Concert
Dance Complex, Cambridge
Starring: Lee, Hillary, Alisia Waller

Considered by fans to be one of And So No Sin's greatest
achievements, the director has forgotten a lot of things about
it. It featured hearts for each character that were plush and
attached with Velcro which the characters swapped, stole or
offered to each other as needed. There was the requisite Prince,
Ballerina and Clown (Petrouchka) and it was done at great speed
to some silly techno music. It was ASNS's first dance to feature
the "slow smile over the wreckage as the lights dim" ending
which I favor to this day. I think it was very good, touching
and funny. If someone would like to commission us to re-create
this dance we would be glad to!!

"Seven Little Dances"
COLLABORATION WITH MERGED INTEREST
March, 1998
Mobius Student Works in Progress, Boston
Starring: Jenn Pipp, Alisia Waller

And So No Sin's first stage performance starring the
co-founders, these are violent, funny and sometimes REALLY
BORING. Performance art through and through. Far too much injury
to Jenn Pipp throughout. This was before Alisia had learned very
much about caring about the audience or "faking" injury instead
of actually doing it.

BONUS: A MERGED INTEREST PRODUCTION

"Maltron, the Instant Musical"
September, 2000
Philadelphia Fringe Festival
The Clay Studio, Philadelphia, PA
Directed and Created by: Jenn Pipp
Music by: Eben Portnoy
Starring: Camille E. Arbogast, Jenn Pipp, Maire Elliot, Eben Portnoy

Maltron is a street musical about two bumbling business people
who are stalked by a vengeful Kinko's worker. They perform songs
and dances as they aimlessly wind their way through the streets
of Philadelphia to an important meeting. As they become
hopelessly lost they're able to discover who they really are.
The magical day ends with a delightfully enticing infomercial.