Other projects and collaborations
Cry Cry Kill Kill by Louise Orwin (performer and collaborator) 2018-2022
This is a project about rage, hysteria, horror movies and the allure of the image. It is about what it means to be the ‘sad girl’, what it means to be the ‘final girl’, and what it means to be a survivor in a world obsessed with survivor stories. This project was the 2018 Oxford Samuel Beckett Theatre Trust Award finalist, supported by the Barbican and the BAC.
A Place to Call Home by AJ Turner (dramaturg), 2021
a place to call home is an immersive sound and video installation that explores queer spaces over time, from historic LGBTQ+ culture in Europe to online spaces in the present day. Exhibited in a unique 1800’s flat nestled above a pub in East London, this installation asks how queer communities have survived, how we create safe spaces through our computer screens, and what it means to find a queer place to call home.
A Performance Hangout (Off Offline) by Owen G Parry (performer), 2019
Forming as a hybrid social and theatrical concept, the performance hangout combined two distinct physical paradigms: one for a carefully choreographed boyband hangout, rehearsed and performed by three dynamic performers which maintained a deliberate theatrical fourth wall and included a series of easy-synchronized movement routines set to a playlist of pop music backing tracks, performed atop a patchwork screen made of colourful fabrics all lit by theatrical lighting; the other a parallel arena for attendees to hangout, which included floor space, tables, chairs and a picnic. In some sense the hangout “on stage” mirrors (if not fictionalises) the possibilities for the “real” hangout (and vice versa), which happens “off-screen” in the darkened edges of the theatre. A space where attendees could watch, talk, work (there were plugs available to plug in laptops and devices), eat, sleep, think and come and go as they wish. The performance in this instance acts as a kind of bi-focal distraction which produces data to be captured and valued (within capitalism); while simultaneously off screen in the darkened edges, a desire for an alternative “underground of the university” is manifested, to quote from Stefano Harney and Fred Moten’s inspirational book The Undercommons: Fugitive Planning and Black Study (2013), which points to ways of resisting the corporatization of the university and knowledge production through the suspension of professionalized worktime, routine and habit.
THERESAMAY SMACKDOWN (performer) 2016-2019
Femme Feral’s THERESAMAY SMACKDOWN is a loud queer femme wrestling performance ritual aiming release our rage and destroy the conservatives. Performing at VFD, Live Art Bistro, The Marlborough Theatre, Buzzcut and Hackney Showrooms.
Tekken Ritual, 2018
When I was a child a good witch put a spell on me that allows me to beat all misogynists at video games, despite being terrible at video games. This is a femme ritual to transfer this gift to a member of the audience through the medium of Tekken 2. Performed at Beta Public VII at Camden People’s Theatre.
ChipolotarARTparty by Daniel Oliver (performer) 2018
ChipolatlARTparty is a dyspraxic time-travel adventure show involving the good fake future silver clothes and the bad real hypnosis they like to call ‘hypnosis’. Performed at Camden People’s Theatre, Latitude Festival, CLAY and Steakhouse Live.
GIMME GIMME, 2017
On the 10 year anniversary of the release of Gimme More by Britney Spears, it is time for a dance break. Britney says “if I have a lot of nervous energy, you know when I start dancing it all goes away and I just feel emotion!” and I just wanna dance with you. Performed at SPLAT! Festival in York, supported by CLAY
Slashfic, 2017
A performance about learning about sex from fanfiction, where I read Yuri On Ice fanfiction and invite a member of the audience to do to me what the characters are doing to each other. Performed with Buzzcut at The Space in Glasgow.
Sissy Slut, 2016
Cunnilingus Splashback offers a specialised domination experience which includes orgasm denial, hypnosis and sissification. Let them change your mind. Performed at Steakhouse Live, Bar Wotever and at GAS in Glasgow.
Prepping, 2016
After my grandmother died, I discovered that she owned several thousand pairs of nylon stockings, decades worth of tinned food, and a gun. She had been preparing for WW3. In this durational performance I put my body inside her clothes and try to understand her by eating tinned peaches and preparing for the disaster we know to be coming. Performed at Low Stakes Festival, commissioned as part of The Bunker Project.
Fake Pockets Are the Devil, 2015
A chubby dyspraxic strip tease by greedy bisexual Cunnilingus Splashback, demonstrating how you can use your body as a storage space if your dresses or skirts don’t have pockets. Created as part of the Duckie Homosexualist Summer School, performed at Duckie, Latitude Festival and the Goldsmiths Genderfuck Ball
Unauthorised Autobiography, 2015
A performance that explored rumours, exaggeration and feminine abjection through satanist ballet, tall tales and being taught to do makeup by my mother, using a variety of personas including a witch with vagina dentata, a genderless robot, and my mother when she was pregnant with me. Created as my final performance for my MA in Theatre and Performance, with mentoring from Lois Weaver and Lucy Hutson, performed at the Peopling the Palace(s) Festival and at Camden People’s Theatre) as part of their Calm Down Dear festival.
