Glittering in Camp, an entertainment show for Y O U
Junko Emoto’s solo performance as a lesbian, for lesbians

What kind of lesbian story are “you” longing for? Defying the images of lesbians shaped by a heteronormative society, this work centers on lesbian love, survival, and aesthetics—stories that are not reduced to tragedy or narratives of hardship. This work never loses sight of the existence of “you” as a lesbian.

In this work, Emoto advocates for “lesbian dramaturgy.” Rather than universalizing lesbian desire, she weaves words and humor that resonate from one lesbian to another into the theatrical landscape. Lesbian audience members may find themselves connected to the work, while non-lesbian audience members may experience a sense of discomfort. This becomes an attempt to invert the structure of empathy, which is often centered on the majority. Yet beyond any theoretical framework, what matters most is the visceral experience this play leaves behind—the feeling that it is a powerful form of entertainment.

Through her work with Kegawazoku in the 2000s—a group described as creating frenetic, chaotic stages—Junko Emoto challenged conventions surrounding femininity and bodily representation. As a devoted entertainer who continually reinvents herself, she brings a festive energy and humor that feels unmistakably alive, expanding the possibilities of performance and entertainment. In Autumn Meteorite 2026 Tokyo, through a solo performance into which she pours her own identity, she examines the representation of lesbians and, by extension, the broader question of how minorities are represented in theater.

The music of toru yamanaka, known for his work with Dumb Type, and the set design by Shiho Minami—which engages both perception and emotion—further expand the overwhelming fictional world that permeates this work. First performed in 2025 in a small theater space with a capacity of only 20 seats, this production now seeks to reach “you” via a major city’s public theater, shining with even greater intensity and camp. From here, this play calls out to “you,” saying “Hello, gorgeous.”