Her presence is unapologetic. Wearing a skin-tight black tank top with a fiery red girly skirt, her frame -- much like the baggage she brings onstage -- cannot be contained in the space she is allotted.
“Everybody thinks I’m putting [sex] out there, but it’s just ‘cause I have big tits.”
Cameryn Moore is no stranger to the wild and obscene. Her place on stage at the Montreal Fringe Festival is more than fitting. In her second debuting solo-performance, following hot after last year’s award-winning act in “phone whore”, Moore is yet again scoring big for her unconventional loving. In “slut (r)evolution: no one gets there overnight”, Moore details the stories of her very promiscuous and atypical sex life. In a gripping hour of laughs and candid honesty niched comfortably in a local Plateau café, Moore pushes the audience to look beyond her sexual life as an incendiary account. Alas our libido’s are celebrated; slut-dom reclaimed.
“I bring a lot to the party: It’s my civic duty.”
Having grown up in an American Mormon household, Moore has come a long way from her roots. Today she boasts an impressive resumé from burlesque dancing, group sex, kink retreats, lesbian sex, straight sex, all the way to internet dating. She tells the audience her motto for everything and anything that is consensual is “yes”. Quite notably, there is something very empowering in her sexual flirtings.
“I want to get my freak on!”
The word “slut” has deep roots in Moore’s life. It has been used against her as a label for her lifestyle choices-- from dress, mannerisms, and even sexual escapades.
Today, while Moore performs she keeps a copy of “The Ethical Slut” befittingly by her side. As Moore explains, the book is dedicated to reclaiming the word “slut” from the pejorative to mean simply those who lead a consensually promiscuous life. “Words like “slut” are used to police women’s behaviour,” Moore says reflecting on the experience of herself and women around the world; adding that, as this book brings to mind, "we should diffuse words that injure.” For Moore, the personal is very political: this is the mantra of her slut (r)evolution.
Alas, through her wild stories of sex Moore leaves the audience fulfilling her end of the deal as a performer: she has captivated, moved, and brought questions to our assumptions. There is no greater accomplishment in theatre.
