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    Louise Orwin: Oh Yes Oh No

    About

    This is a show about having sexual fantasies that don’t align with your politics – it’s about trying to understanding what you want, and wondering how the hell to ask for it

    Award-winning performance artist Louise Orwin asks the difficult questions as she takes you on a surreal joyride through femme sexuality and violence. Made exclusively with the candid input of those willing to talk openly and honestly about their sex life, this one-woman show interrogates identity, consent and power play.

    Featuring explicit XXX, Barbie’n’Ken role-play, a heady mix of pop culture references, and sound design by Alicia Jane Turner (THIS IS HOW WE DIE composer), the show explores sexuality and who gets to have a say in it. This show is for anyone who has ever struggled to find their sexual voice, or questioned the sexual culture they were brought up in. Oh Yes Oh No dares to speak about a subject which is rarely addressed publicly, especially in the wake of #MeToo.

    Steady yourself to rethink desire, and then watch her smash it all to pieces.

    Louise Orwin is an award-winning writer, researcher and performance maker. She makes research-driven performance projects about subjects that are close to home, hard to get your head around, and need to be spoken about. She makes work about what it means to identify as female today, in a fast-moving, media-saturated world that prizes patriarchal, heteronormative narratives. Louise likes to make work that is provocative and brash, intimate, awkward at times, and generally filled with a heady dose of pop culture.

    Supported by Arts Council England, Jerwood Charitable Foundation, Camden People’s Theatre, Live Art Development Agency and Live Art Bistro

    7.30pm

    Reviews
    • “Bold, brave work, and all the better for being filled with the voices of real women who, by speaking out, are staking a claim for their own erotic agency.”

      The Guardian
    • ****

      “Startling and resonant show questioning female desire and its relation to rape culture.”

      The Stage
    • “Awe-inspiring for its optimism, for the sight it offers of someone trying to do something honest and uncomplicatedly brave in a broken system.”

      Exeunt

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