We invite you to the last sunset you will ever see.

It is brilliant, psychedelic, hallucinatory, banal, cliché, and polluted. You will bask in its pale plasticity. It is everything and nothing that you expected it to be.

You know why you are coming here but don’t know what it will be like to leave.

It takes 1 hour and 40 minutes.

We invite you to the thrill of your own expectations – the pending near, coming, and distant future. We can’t predict the future, but we will play with it.

By crafting a dystopian situation, where we reflect upon ‘the end of the world as we know it’, I intend to open up for a rethinking of how we spend time with images, objects, and most importantly with our bodies and each other. By placing a finite fictional ending and timeframe on this experience we examine how we would spend our last moments together in a place where sunsets will cease to occur. In a world where images are thrown at us ad-nauseam, how can we use and dismantle an image that is loaded with nostalgic, romantic, and cataclysmic associations to install a new way of experiencing community, our bodies, time, and place?
– Rachel Tess choreographer

"Any number of sunsets…" is proposed not as a dance performance but as the last sunset you will ever see, taking place over approximately two hours with the audience both walking, sitting, and lying on the theater floor. It questions how we would spend time together during the last sunset the world would ever seeas well as how we spend time in theaters. It is proliferated through an acute attention to proximity, vibration, and specific movement qualities juxtaposed against the fictional, semi-dystopian/apocalyptic, and plastic cliché the last sunset ever. In this work four performers create a live sound score the last song ever, and navigate a plethora of objects (building materials, plastic, wrapping paper, kinetic sculptures, garbage) in the last room ever. "Any number of sunsets…" uses a complete and total, overload of material to nullify any attachment to the invitation and question at hand. It proposes a set of parameters so specific that the question is forgotten, resurfaces, and gives way to a situation in which both the performers and audience are focused on the present.