Louise Orwin’s FAMEHUNGRY is an audacious, chaotic, and deeply relevant exploration of social media’s grip on contemporary culture. Blurring the lines between performance art and digital spectacle, the show immerses audiences in a lively, sometimes wild, multimedia-driven experience that mirrors the relentless nature of the online attention economy.
FAMEHUNGRY follows Orwin as she embarks on a chaotic, high-stakes experiment. The show is simultaneously live-streamed on TikTok, running the risk of being shut down, exploring the theme of censorship. Orwin’s use of live TikTok streaming as a performative tool and a conceptual framework is undeniably original and engaging. It creates a dual audience dynamic—one in the theater and another online—forcing viewers to confront their role as both spectators and participants in the ever-hungry social media machine. The production’s technical execution is impressive, with stunning projections, live-streamed interactions, and sharp digital aesthetics that heighten the sense of immediacy and spectacle.
At the heart of FAMEHUNGRY is Louise Orwin’s electrifying and fearlessly natural performance. She is not just a performer but a master of controlled chaos—funny, sharp, and completely in the moment, navigating the stage and screen with the kind of charisma that makes it impossible to look away. Whether engaging with the in-person audience, improvising in real-time with TikTok viewers, or seamlessly maneuvering between props, projections, and live-streaming setups, Orwin keeps the energy high and the experience immersive. Her ability to balance humor with existential questioning gives the show its emotional depth, making audiences laugh one moment and reflect on the absurdity of online fame the next. Watching her juggle the mechanics of performance—ring lights, phone tripods, digital filters, and the constant need for engagement—feels both thrilling and anxiety-inducing, true to the nature of social media.
However, while the concept is captivating, FAMEHUNGRY sometimes feels like it’s searching for a clearer narrative thread. The show thrives in its form, embracing the unpredictable and chaotic spirit of social media, though at times, a stronger narrative thread could help ground its many ideas. That said, as an experimental work, it succeeds brilliantly in its mission—it’s thought-provoking, visually dynamic, and offers a striking commentary on what it means to be seen in the digital age.
Ultimately, FAMEHUNGRY is as messy, exhilarating, and exhausting as the social media landscape it critiques. While it may not offer definitive answers, it prompts reflection on how much a person is willing to sacrifice in the pursuit of visibility.
"FAMEHUNGRY "
Written and Performed by Louise Orwin
Collaborator/performer/TikTok Star: Jaxon Valentine
January 22- February 8, 2025
SoHo Playhouse (15 Vandam St, NYC)
Yani Perez, M.F.A., is a poet, playwright, translator, and educator. Her plays have been presented in various theaters in the United States, such as La Mama and Yale University, as well as internationally in Bogotá, Colombia. She works at IATI Theater, one of the oldest Latinx theaters in NYC. She is currently working on translations of Latinx artists in hopes of introducing them to English-speaking audiences.
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