{my lingerie play}

{my lingerie play}MY LINGERIE PLAY 2018
The Concert and Call to Arms!!!!!!!!!
The Final Installation.

What drives an artist to stand in her black corset in Times Square on a soapbox? It began at 17 with her first shoplifted f*ck me bra. Over the course of this unfiltered and soul-baring event, Diana Oh’s personal collection of unmentionables comes on and off as she and her band ignite the audience to create a saner, safer, more courageous world for us all.

{my lingerie play} 2018: THE CONCERT AND CALL TO ARMS!!!!!!!!! The Final Installation is a play, a protest, a concert, and an installation all at once. Through this entertaining concert-play, Diana and her band explore sexual and gender politics through mainstream culture’s relationship to the female and gender-queer body.

Since 2014 The Wall Street Journal and Upworthy have called her “bad-ass,” while Mic.com noted, “Lingerie and feminism don’t always go hand in hand. But thanks to performance artist Diana Oh, that may soon be changing.” The Huffington Post described {my lingerie play} as “One performance artist is fighting back against the degradation of women’s bodies — one piece of lingerie at a time.”

{my lingerie play} 2018: THE CONCERT AND CALL TO ARMS!!!!!!!!! The Final Installation is a culmination of installations that have taken place throughout NYC and the United States.

In addition to Oh, {my lingerie play } 2018: THE CONCERT AND CALL TO ARMS!!!!!!!!! The Final Installation features Ryan McCurdy (Music Direction/Drums), Matt Park (Guitar) and Rocky Vega (Bass), set design by Carolyn Mraz, light design by Kate McGee, and sound design by Brendan Aanes.

 

quotes

THE NEW YORK TIMES (Critic’s Pick)
“A glitter bomb of feminist and queer protest that feels just right for this cultural moment….“A messy-beautiful new show….[Diana Oh’s] stage persona is funny, irreverent and approachable, her band is terrific and her songs cycle lushly through a whole range of moods, from dance-party exuberance to mournful darkness…. Blindsides you with the resulting loveliness…glorious.”

BUZZFEED (19 Best Plays & Musicals of 2017)
“I was completely unprepared for the profound effect it would have on me….I left the show feeling empowered, emboldened, and sexier than usual…. it’s also filled with love. I have never before felt so connected to an audience of strangers as Oh celebrated self-expression, enthusiastic consent, and queering the world. The show is such a rare and special thing that I feel a kinship with everyone who saw it and a little sorry for those who didn’t.”

THE VILLAGE VOICE (64 Things to Read See Watch & Listen to this Fall)
“This Rattlestick blowout…a nowhere-but-here show that embodies the reason we all live in New York City.”

THEATERMANIA
“Oh’s work is daring, original, and entrancing…. A blend of hard rock and 1960s folk — as if the contemplative spirit of Joni Mitchell were marching on Washington with an electric guitar….revolutionary.”

TIME OUT NEW YORK
“{my lingerie play} is equal parts consciousness-raiser, rock show and extended
autobiography….Oh makes a mighty preacher.”

BROADWAY WORLD
“Liberating fun and entertainment…If there’s a prevailing intention immersed in Diana Oh’s performance, it’s the need for every individual to take on the responsibility of contributing to the healing of society’s wounds.”

VULTURE
“Equal parts theater, punk rock concert, protest, confessional, and celebration…Though Oh is undoubtedly her own singular stage presence, her glam-cabaret sensibilities are already seeing her compared to the likes of Taylor Mac….Oh’s energy is infectious.”

THE CULTURE TRIP
“Diana Oh’s rousing show with rock songs is a one-in-a-million one-woman protest.”

YES BROADWAY
“It has a very Hedwig And The Angry Inch vibe, but for 2017. Just like Hedwig, the music is really good.…this is NYC Theater at its finest.”

THEATRE IS EASY
“Oh keeps the audience rapt.…a truly great piece of art.”

EXEUNT
“The show delivers a soul-cleansing catharsis… (Diana Oh) plants a confident flag on the American Theater’s stage and she’s not ceding her ground.”

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