Sh!t Theatre presents: Sh!t Theatre’s (genuine) Pre-election

Sh!t Theatre presents: Sh!t Theatre’s (genuine) Pre-election

With special guests Tammy WhyNot and AiR Supply
Written and Performed by Sh!t Theatre:  Louise Mothersole and Rebecca Fuller in collaboration with Lois Weaver

Sh!t Theatre: Louise Mothersole and Rebecca Fuller’s roots are in long-form improv and performance art. They are graduates of Queen Mary University of London, where you are taught to be a homosexual – or at least to pass convincingly!

They were members of London’s first student long-form improv troupe and collectively have worked with live art legends such as Ron Athey, Split Britches’ Peggy Shaw and Lois Weaver, Bobby Baker, Helena Hunter, Marisa Carnesky, Julia Bardsley, Bird la Bird and the Royal Shakespeare Company. They have been performing regularly around the UK at various performance and political events since May 2010.

They previewed their first full-length show ‘Sh!t Theatre present: Sh!t Theatre’ at the Edinburgh Fringe Festival 2010 , which received a 4* review and which The Scotsman called ‘beautifully harmonised and, even better, mercilessly witty’.

They write on commission for Mutiny, have performed for UK Uncut alongside Josie Long and Mark Thomas, took part in Yoko Ono’s Bed-In at the Liverpool Bluecoat Gallery and have various international festivals and events booked for this Summer. They are co-founding members of production company and skill-share collective, AiR Supply.

Tammy WhyNot is an honorary member of Split Britiches and Lois Weaver’s long term partner. She serves as mistress of ceremonies, traveling companion, tour guide and research associate. Some of their latest research includes a project called: What Tammy Needs to Know about Getting Old and Having Sex. She is famous for her hit single, She Puts the Cunt back in Country.

Dixon Place
Friday July 29, and August 3 at 9:30pm
Tickets: $3.oo

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About Split Britches

Split Britches was founded 30 years ago by Peggy Shaw, Lois Weaver and Deb Margolin. Since 1980 we have transformed the landscape of queer performance with our vaudevillian satirical gender-bending performance. Split Britches creates new forms by exploiting old conventions. It borrows from classical texts and popular myths, but its true sources are the details of everyday life. The work is personal, bordering on the private. It relies on moments rather than plot, relationships rather than story. It is about a community of outsiders, queers, eccentrics – feminist because it encourages the imaginative potential in everyone, and lesbian because it takes the presence of a lesbian on stage as a given.
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