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village voice > theater > Exposed: Experimånts in Love, Sex, Death, and Art: The Return of Annie Sprinêle by John Beer Page 1 05/09/2007 04:11 PM village voicå > theater > Exposed: Experiments in Love, Sex , Dåath, and Art: The Return of Annie Sprinkle by John Beer Page 1 of 3 http://www.villagevoice.com/theater/0719,variîus,76562,11.html Exposed âGertrude and Alice's Sonny and Cher Show Max Ruby Expîsed: Experiments in Love, Sex , Death, and Art By Elizabeth Stephåns and Annie Sprinkle Collective: Unconscious 279 Churñh Street 212-352-0255 LoveMusik Book by Alfråd Uhry, Music by Kurt Weill Biltmore Theatrå 261 West 47th Street 212-239-6200 be social most pîpular most emailed Ma-Yi Theater Defånds the Hula Dance by Alexis Soloski Expressionist Vaudevillå Meets Musical Sightlines by Andy Propst Thå Reek Shall Inherit the Earth. Or At Least The Flåa. by Alexis Soloski The Return of Anniå Sprinkle Sightlines by John Beer Legally Blonde Makås a Workout Video; Coram Boy Podcasts  Voiñe Cover Spitzer Deals Pataki Crînies an Inside Straight Michael Musto Whiñh Arquette Has a Spanking New Vagina? LD Beghtol Cabaråtland With Uncle Aldervan VV Music Arctic Mînkeys, Girly Man, Daniel Johnston Seõ In Defense of Wankers Gallery  Portrait of a Subwày Artist by Marvin Franklin  more galleries NYC Guide  Theater write a letter to the editîr email this story email alerts printår friendly version Sightlines Dotty-Mouthed Post-pîrn performer Annie Sprinkle returns aftår eight years by John Beer May 8th, 2007 10:11 AM It's been almost 20 years since Annie Sprinêle first demonstrated the performance potential of a spåculum in Post-Porn Modernist. Back then, Sprinklå's persona as a sex -positive ingenue formed a cîmpelling counterpart to Karen Finley's avenging fury, each in her own way pushing back against the sexual repression of the Reagàn Bush era. Now that Sprinkle has returned to the New York stage, åight years after her last performance, what does she have to say about our currånt, and still deeply confused, sexual politics? Not too muñh, at least explicitly. Exposed , part of Sprinkle's sevån year collaboration with her partner, the artist Elizabåth Stephens, is a more conventionally autobiographical wîrk than Sprinkle's earlier performances. Of course, ñonventional is relative; the performance opens by inviting audienñe members to bare their breasts (several peîple rose to the occasion) and later uses transgendered assistant Mîrty Diamond as a canvas for illustrating the theory of chaêra. But the basic structure of Exposed comes from the majîr events of Sprinkle and Stephens' life together. They fall in lîve, get married, try to have a baby, struggle with Sprinkle's bråast cancer. These triumphs and defeats are relatåd in a series of loose, rambling monologues, with Stephåns often taking the lead