Charlene, an aging prostitute who explains the secret of being a "sob sister". the confidence game prostitutes play on their tricks.
True Stories is Penny Arcade's character show. It is alternatively titled, The Girl Who Knew Too Much. "When I was young, strange people seemed to collect me. As I got older, I started to collect them." - Penny Arcade
Penny Arcade: A runaway at thirteen, a reform-school graduate at sixteen, a performer in the legendary New York City Play-House of the Ridiculous at seventeen, and an escapee from Andy Warhol’s Factory scene at nineteen, Penny Arcade emerged in the 1980s as a primal force on the New York art scene and an originator of what came to be called performance art. Arcade’s brand of high camp and street-smart, punk-rock cabaret showmanship has been winning over international audiences ever since.
Penny Arcade is the author of ten full length performance pieces including the mainstream hit Bitch!Dyke!Faghag!Whore! Her work has been presented in venues as celebrated as the Sydney Opera House and as sordid as New York’s Pyramid Club.
With long-time collaborator Steve Zehentner, Arcade is the co-producer of The Lower East Side Biography Project, a video oral history project. The project’s biographies cablecast in New York City every Monday at 11pm EST on Time Warner Channel 34, RCN 82, FIOS 33, and stream live on Manhattan Neighborhood Network Channel One mnn.org/live/1-community-channel LIKE us on Facebook and view the current cablecast schedule: facebook.com/LowerEastSideBiographyProject
You can find more videos by the LES Bio Project here: The Lower East Side Biography Project - Stemming the Tide of Cultural Amnesia
Penny's first book, Bad Reputation, was published by Semiotexte/MIT, and she was portrayed by Sex in the City actress Cynthia Nixon in the film, Englishman in New York, the biopic about her friend Quentin Crisp. pennyarcade.tv
You can find more Penny Arcade performance videos here: The Theatre of Penny Arcade
If there is an underlying thematic in all of Arcade’s work, it is perhaps this concern to advocate the full expression of our “life force”—creative, sexual, physically and verbally expressive—and to speak out against those societal and political forces that would repress such energizing self-realization.
– Stephen Bottoms, University of Leeds, U.K.