DANCE AT THE ODYSSEY to Return Over Three Weekends This Summer

Odyssey Theatre Ensemble’s “Summer Edition” of Dance at the Odyssey will return for three weekends celebrating adventurous, compelling work from Los Angeles choreographers. Curated by series co-founder Barbara Müller-Wittmann, performances run June 20 through July 5, 2026.

Saturday, June 20 at 8 p.m.:

Kybele Dance Theater presents an evening of two works by choreographer/artistic director Seda Aybay. In Reminiscence, Aybay explores family dynamics through echoes of the interactions and memories that mark and shape who we become. The world premiere of Anima examines the profound division between the inner and outer self.

Sunday, June 21 at 2 p.m.:

The world premiere of Vestibule, a contemporary dance work exploring feminist futurities by choreographer/dancer Kate Myers, who returns to Dance at the Odyssey after performing in Annie Kahane’s Four Seasons of Hamadan last summer.

Thursday, June 25 at 8 p.m.:

Split bill:
• Lincoln Seymour demonstrates the relentless day to day wear and tear that corporations instill on their workers in Rat Race, choreographed to illustrate the dynamics of power, greed, and hardship necessary to operate a company, and danced to an original composition created using live, sonic audio of outrage and frustration.
• The world premiere of Return to Instructions from choreographer Emma Shane explores the meaning of expectations, power and obedience — and questions their reality.

Friday, June 26 at 8 p.m.:

Split bill:
• Lincoln Seymour returns with a second performance of Rat Race.
• Lineage MVMT, a collective of dancers and martial artists dedicated to honoring the lineage of Kung Fu, investigates the evolution of “traditional” forms through the bodies and perspectives of contemporary artists with the world premiere of Solstice.

Saturday, June 27 at 8 p.m. and Sunday, June 28 at 2 p.m.:

Split bill:
• Donofrio Dance Collective presents BETTY, a contemplation of society’s imprint on the female psyche, influenced by research and personal stories from the performers, as well as by choreographer Taylor Donofrio’s own recent experience of becoming a mother.
• The world premiere of choreographer Ricky Medina’s Mighty Praise is an electrifying look at the relationship of hip-hop and street dance forms — including krump, house, hip-hop dance, breaking, popping and waacking — to spirituality. The evening will also feature new works in progress premiering for the first time.

Thursday, July 2 at 8 p.m.:

Thresholds by Maggie Ogle is a two-part contemporary dance work that explores the emotional and sensory landscape of neurodivergent experiences. In Part I, Shelf Life, the dancers navigate the emotional labor of suppressing one's authentic self to fit into neurotypical norms. Part II, Is This Okay?, embraces the nonlinear thinking, patterned routines, and sensory-driven processes that help neurodivergent individuals flourish. Together, the two parts open space to reconsider how difference is understood and valued. A Q&A follows the performance.

Friday, July 3 at 8 p.m.:

Choreographer Cora Laszlo’s Gambiarra: Imaginary Solutions for Love delves into the connection between dance improvisation and everyday gambiarras, a Portuguese word referring to inventive and unconventional ways of solving or fixing things. In this quest to invent imaginary solutions to [imaginary] problems, the dance unfolds through a flow of improvisation and discovery of gambiarras—personal, specific and non-normative inventions. Laszlo returns to Dance at the Odyssey after performing in Victoria Marks’ A Deer Walks into a Dance last summer.

Sunday, July 5 at 2 p.m.:

Split bill:
• Tanz Tanz Revolution co-founders Emily O’Rourke and Eva Silverton reflect on the way each of us carries our own complex narrative while co-existing within the same transient moment in Sonder. (sonder [son-der] / ˈsɒn dər / noun: the realization and understanding that all other people have lives as complex as one's own — Merriam-Webster). O’Rourke returns to Dance at the Odyssey after performing in Kairos Movement Collective’s an ode to bug last summer.
• Choreographer Katie Tuchi presents Doubting Thomas, in which everything is precious, but nothing is permanent. Tuchi’s work is not done after the movement is set; by the time she has physicalised her findings, she is ready to exchange her initial question for another. The steps are the same… but what if they are performed by the elderly in swimwear on the ruins of Angkor Wat?

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