Cameryn Moore is a dealer in sexual fantasies. She charges by the hour to regale eager men with their deepest, darkest desires over the telephone, in between making toast and collaging. Phone Whore is a snapshot of this life.

The piece treads a strange line between reality and theatre. Moore is herself, speaking openly to the audience about the content of the fantasies and her refrain from judgement; after all, it is actions not thoughts which damage. But while she is frank, her world is obviously constructed and starkly lit; are we really seeing the true Cameryn Moore?

It's not clear what's compelling Moore to share these fantasies of incest and sodomy with us. The content of the staged calls is disgusting, but this comes more from the strange violation of intimacy that these erotic calls depend on, like an uninvited stranger standing at the foot of the bed.

At the end, with a second invitation to join Moore in the bar to ask questions, it seems that Phone Whore is an opportunity for her to offload, to release these difficult interactions and her submissive relationship into a public forum and destroy the grip of these intimacies on her own life.