Plymouth Theatre Review

Title: ‘Ouch’

Venue: The House, Studio

Date: 28th May 2024

Overall Rating: 5

(Please note this show is an 18+ & may not be suitable for our younger readers.)

‘Ouch’ is a one-woman show that boldly traverses the intricate and often misunderstood realms of BDSM, Kink and consent. Masterfully written, directed and performed by Frankie Baker, the performance delves deep with an unflinching honesty and unapologetic approach to the provocative and sexual themes. Its bold storytelling and willingness to confront and explore the often challenging taboo subjects sets this piece apart in a resonating and raw portrayal of human experience. This show has it all, from playful to powerful, to questioning and commanding, the physicality and narrative opens up the discussion surrounding BDSM as a lifestyle and art form and courageously negotiates the realms of consent and sexual assault. 

Bakers raw energy and enthusiasm for the themes and her commitment to the performance was palpable from the moment you entered the space. The initial image of Baker is ritualistic in nature with carefully picked props littering the stage and draping her body, setting the tone for a piece that is littered with beautiful tableaus and artistic imagery. The movement and physicality are not just visually stimulating but meticulously choreographed to convey a spectrum of emotions. Each gesture and glance at the audience speaks volumes, making the physicality of the show as integral to the piece as the powerful script itself. The placement of the body paired with precise movement and control over body language notably enhances the narrative and overall experience and also underscores the commitment and passion driving the artists work. There are several moments that stand out in terms of physicality: the use of the chair, the rope use and the ending sequence (where props are used on the body – to name just a few.) For me, the most powerful use of physicality was in the use of the body as a symbol and the dedication shown to using the body as a vessel for artistic expression.

The set design itself was both basic and complex. Set in a dark studio environment with kink related props littering the stage, the audience are immediately propelled into the action and themes the performance. A chair was a main focal point on the stage (other than Baker herself) and was used to create stunning motifs with her body, posing in what is perceived as provocative, sexy poses and expertly demonstrating the power of physical movement and poise in a theatrical setting. Props were also used throughout including a large jar of lube, several paddles and some rope. I wont give too much away, but it is safe to say these props were used in a way that brought both pleasure and pain to both Baker and audience, and included several uncomfortable moments in a powerful scene of self inflicted pain towards the conclusion of the performance. The clever mix of disciplined physical movement, raw sexuality and the punchy, sharp narrative created a truly captivating experience. Rather than leaving the audience in a perpetual state of discomfort, Baker’s constant shifts between powerful and vulnerable put everyone in a state of endearment towards her, often being at ease and willing to participate even in the harsher and darker moments in the performance. It felt like she was baring her soul on the stage, inviting us to witness her deepest emotions and thoughts, figuratively ripping her hear out and throwing it on the stage for us, and even herself to examine.

The costume is also nuanced and intriguing, with the initial view of the performer being obscured by a white lace cloth that hides the majority of her body from the spectators gaze. This is in stark contrast to later in the performance, which is performed topless. The juxtaposition between vulnerability and confidence is expertly displayed in the performers physicality and brought to a head in the scene where she removes her top. There are several nods to the fact that she will be performing topless in the ‘dressed’ parts of the show. From bold, confident statements – “Give me ten minutes and I will show you my tits” to the more profound questions “Would you lose respect for me if I showed you my tits? Well…would you? Would I be a bitch if I didn’t, now that I said I would?” Keeping the audience enthralled and constantly questioning if they should be answering these questions either in their head or out loud. The physicality in the scene where her top is removed is also poignant and raises several questions itself.  There is a mixed feeling, that is palpable both in the audience and on the stage. Does she want to do this? There is a reluctance in the undressing, a vulnerability that makes it uncomfortable to watch, a stark feeling of being unable to turn away and wanting to see what happens next while feeling invasive and voyeuristic at the same time.

The narrative of ‘Ouch’ is layered and complex, blending personal anecdotes with broader social commentary. It is sexy and provocative, challenging social taboos and exploring consent in an authentic and devastating way that invites the viewer to question their own perceptions of sexuality and consent. “I’m Trying to face up the person who I said no to, who carried on anyway…I’m holding myself accountable to someone else’s guilt” She poses questions to the audience and demands their interaction and attention. “But my question to you is, are you going to go home and wank to this? Well? Are you?” Her emotional connection to these questions spilled out several times in the show, with the demanding way the questions were posed, often turning into an insistence on an answer, and even anger and a sense of frustration when an answer wasn’t given. We were however, rewarded with praise when we finally did respond – “Good Pets.” The exploration of BDSM and Kink throughout is particularly nuanced, highlighting the importance of consentand the deeper psychological aspects involved in these practices. “For me, it’s about playing with power, power structures, power potently at play…”  This opening up of the discussion around BDSM and Kink practice both educates and enlightens, drawing us into the complex power shifts at play. Baker is adept at describing her thoughts and experiences stating with humour and authenticity “This must be what monks feel like after they have mastered meditation, except I have somehow done this with a plastic cock in my face…there must be something wrong with me.” She consistently switches between confidence and coyness, making bold statements that she then questions and ponders the implications of, creating a rollercoaster ride of complex twists and turns.

Her vocality also constantly shifting throughout, from shy to commanding. The inflection and nuance with which she delivered certain lines endeared her to the audience and made her an inviting and intriguing presence. Her voice can be soothing and soft one minute, pondering questions in a playful way, to angry, commanding and stern the next.  Lines such as “I am a bitch” and “Let me show you something” were repeated in the opening stages of the show and this constant shift in the language from soft to harsh keeps the audience on their toes and constantly questioning the narrative. Repetition was used throughout with striking effect, serving to underscore the complexities of the themes and human experience.

This technique reinforced the key themes and emotions, allowing the audience to delve deeper into the rich layers of meaning and reflect on the nature of the questions being posed and the imagery being presented. What sets ouch apart is it’s ability to balance the provocative with the profound. The show doesn’t shy away from explicit content, yet Baker handles it with such finesse that it doesn’t feel gratuitous, instead serving to underscore the themes and creating a performance that is as intellectually stimulating as it is emotionally engaging and visually pleasing. One of the most striking aspects of the performance was the continual shifts in the balance of power between the artist and the audience. This dynamic interplay challenges the spectator to reflect on their own beliefs and boundaries, posing questions about consent and control dynamics. Bakers ability to navigate these power shifts with confidence and vulnerability adds an additional layer of depth to the experience that demands the audience be an active participant in the unfolding narrative and action. Audience interaction (at various levels) plays a significant part in the performance, with both rhetorical and actual questions being posed. This engagement invites the audience to reflect on the themes and situations presented, fostering a sense of involvement and connection to the performance as well as Baker herself. By prompting the audience to think critically and emotionally, the show enhances its emotional impact and relevance. There is a further exploration of audience interaction, with Baker inviting an audience member onto the stage where they are asked to make a decision that plays out in the latter part of the show and actively take part in the action. This intimate interaction, incorporates elements of touch as well as voyeurism and blurs the lines between spectator and participant, creating a powerfully immersive experience that no doubt heightened the emotional intensity and connection to the piece. 

This was, however, the only time in the show where I felt something may have been held back by Baker. There is always a fine line to tread with audience interaction, and while this was incorporated in a skilful way that undoubtedly enhanced the performance, I felt there was an element of withholding the full force of this spectacle, perhaps not demonstrating her control and power as much as she would if this was not in a academic setting. It would be interesting to see how this interaction plays out in a less academic space, where the confines of academia are withdrawn and the interaction can be free from any constraints. 

The shows conclusion was powerful, harrowing and at times painful to watch. The unflinching honestly and bravery displayed in discussing her own experience of sexual assault were strikingly conveyed in the closing scenes. The use of an unedited recording of Baker, discussing her experience was powerful and devastating in equal measure.

The recording was a particularly interesting way to portray her thoughts regarding this and its unedited, unfiltered and unrehearsed nature (in contrast to such a disciplined and dedication performance) had a hard hitting effect on the audience due to its raw format and the juxtaposition between this and and disciplined action (inflicting pain on herself) taking place on the stage throughout the recording. This emotional finale, left a lasting impression, bringing with it mixed feelings and emotions and instilling a sense of catharsis to the piece. 

‘Ouch’ is a tour de force that deserves every one of it’s five stars. It is a show that is not only sexy and provocative but incredibility bold and brave in its willingness to confront difficult subjects with honesty and fearless flare. Baker has successfully created a show that is equally playful and poignant offering an insightful and compelling exploration that both enriches, educates and entertains, affirming the status of ‘Ouch’ as a groundbreaking and essential piece of theatre.