A WOMAN ON HER KNEES – REVIEW OF LOUISE ORWIN’S A GIRL AND A GUN

by Hannah Rose

He is driving, she is hanging on his arm. Behind them a vista depicting a wide road disappears into desert upon a large screen. The cherry red of her lipstick matches her low-slung red dress, punctuated by a pair of cowgirl boots. Her dreamy expression says she’s completely at ease, hanging off her man; pleased as punch, because he is in control. But he has never seen the script before; he will be reading off an autocue. She is the one driving the show.

Performer-playwright, Louise Orwin, is touring the UK with her new theatre piece, A Girl and A Gun which was performed at Edinburgh Fringe this summer. Jean-Luc Godard’s adage “All you need to make a movie is a gun and a girl,” is the springboard from which Orwin’s performance dives headfirst into a chilling reality which is anything but surface deep.

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TRIGGER WARNING: LOUISE ORWIN’S A GIRL AND A GUN

by Hannah Rose

“All you need for a movie is a gun and a girl,” quipped Jean-Luc Godard. Images of scantily clad women waving weapons around are commonplace in the media. It’s troubling to think how often we consume this image: Charlie’s Angels with their high-heeled kicks and sniper rifles; Bond women emerging from the sea with a pistol stowed away in a pair of knickers, and even pop music’s favourite feminists — Beyoncé and Lady Gaga — wear matching white bodysuits and brandish plastic-looking revolvers whilst singing something about a telephone. Watch out, those gals are gyrating and dangerous.Continue Reading