Mica Sigourney


MAR 22-25, THU-SUN

MASTERWORK imageMASTERWORK is the most important performance of our generation and time, created and directed by one of the most important performers/artists of our generation and time — Mica Sigourney. With insightful vision and razor-sharp skill, Sigourney moulds his cast into a form that can only be described as “godlike”. Undercutting, subtextual, subtle and enormous, MASTERWORK is aptly named. This piece tells the audience “You are the audience. You will sit. You will be silent. And you will watch. You will know that you are the audience. We will impress you, and we will change you, and we will amaze you, and we will give you everything you ever wanted for 30 minutes.” Sigourney takes 12 of San Francisco’s most talented performers, known as “the disciples”, and sets them in images at once heartbreaking, profane and unimaginable. MASTERWORK not only addresses the macro performance but also the micro with fine pointed execution of physical movement through and within space. While specific issues of power and placement center and ground the piece, there also unfolds a beautiful maelstrom of ancient Greek-like pathos and popcultural decontextualization. MASTERWORK leaves us feeling like nothing can happen because everything already has.

Joining Mica Sigourney (VivvyAnne ForeverMORE!) on the path to fame and fortune are the (in)famous personalities Laura Arrington, Harold Burns, Rachael Dichter, Kolmel WithLove, Elijah Minnelli, Trixxie Carr, Tessa Wills, and Dia Dear. The glamour and the gore will be captured by video paparazzo John Foster Cartwright.

Mica Sigourney (AKA VivvyAnne ForeverMORE)

Mica Sigourney image

As student of theater and performance for 25 years, Sigourney has specialized in physical theater, improvisation and site specific performance. 6 years ago he fled the proscenium stage and traditional venues and refocused his energies on go-go performance installations and the populace stages of the nightlife. 2 years ago he created drag persona VivvyAnne ForeverMORE! and since has performed on stages and festivals in San Francisco, L.A. New York, and London, and in the deYoung, the New Museum (NYC) and Yerba Buena Center for the arts. In 2008 Sigourney founded the performance group OX of which he is the artistic director.

Sigourney also produces the WORK MORE! series, a twice a year drag production featuring nightlife performers presented in a “real” theater context, where their processes are exposed, and their boundaries pushed. As a writer his work has been featured as part of the Radar Reading series alongside San Francisco’s Poet Laureate.


OX, founded in 2008, Mica Sigourney, explores the tension between artifice and authenticity through non-traditional physical theater, improvisation and site specific performance. OX self-produces large-cast live theater events, participates in large group shows and co-curates evening-length performances using traditional queer modalities of theatrics such as drag, nightlife entertainment and go-go performance as a point of departure.

OX is a loose knit group of fiercely committed, magically present and challengingly individual solo performers who come together to make whole works greater than the sum of their individualities under the creative direction of Mica Sigourney.


Mica Sigourney's Blogs

Reading and More
May 13th, 2015

I finished the Witches book yesterday (thank you Nils).  I’ve been reading two books about time, technology and the future: River of Shadows by Solnit (describing the development of the American railroad, westward expansion and the man who developed quick photography, leading to film) as well as After the Future by Biffo Berardi (theory book about the disintegration of the idea of the FUTURE, and the economic mythologies and realities that supported Futurism and then destroyed it).

In relating to this project the Solnit book is stunning because of its description of San Francisco as it first developed, a no-mans land that became a center of commerce, and discovery and personal mythology; at the cost of the genocide of the Native peoples of the area. SF as a place of change and innovation echoes today with all the tech and silicon valley. It was the final destination of the transcontinental railroad, the end of westward expansion. You all are coming here, to this foggy place, a place I often find is liminal as much as bubbled by the geography. So I’ll share this…


“In the heyday of the gold rush, the immigrants were busy building California’s physical infrastructure: dams, roads, cities, farms. At the same time, a more subtle project of construction was launched, of California as a distinct culture. Immigrants bent the places’s meanings to suit their needs and dreams, and when they were done, something entirely new had been invented, something that would change the world, a kin of headstrong, rootless sense of heroic possibilities and glamour still summed up by the word CALIFORNIA. And much that was ancient had been lost, including the way that Modoc culture was tied, with a thousand threads of food and story and name and knowledge, to the place where Modoc had been as long as they remembered.” River of Shadows, Solnit


Mica Quote of the day
May 12th, 2015

“The supernatural is nowadays often seen as opposed to technologies, but the technologies of the era often seemed supernatural themselves.  In the well-known words of science-fiction writer Arthur C. Clarke, “Any sufficiently advanced technology is indistinguishable from magic.” It is only becuase nature no longer seems so strong and immutable a force that changes no longer seem uncanny. In the beginning electricity seemed spiritual, a form of the life force…The changed brougth about by technology seemed supernatural at first, and photography was associated ith death both in the many, many images of the dad made during the early years of the medium and in hte way photograyphy changed death by making at leas appearance permanent.” River of Shadows, Solnit



May 11th, 2015

“A riot literally tears the city apart. It is a striation…like a skater from the days before skateparks, it sketches invisible trajectories in the urban motif. A shapeless event that eludes reification, even if it relates to rituals, and thus summons the repertoire of tricks and knowledge accumulated by a provisional community bound by a transgressive dynamic.”  Withches: Hunted, Appropriated, Queered ed. Anna Colin, The Rioter and the Witch by Olivier Marboeuf


A proposal- Mica
May 6th, 2015

Hello Other (X)Changers,

I have a proposal for our process.

I’m usually drawn to the obvious, or blatant. I am also fascinated by impersonation, doubling and repetition (not just as a compositional tool but also as a process). I propose that our exchange be direct, meaning each of us recreates a work by another in the group. This will provide us with a solid structure and process within to work (rehearsals, learning each others work), and coupled with group conversations and works in progress will also show and share our own individual idiosyncratic ways of approaching making and doing.

I think a whole group collaboration might be unweildy. So this is my first off suggestion.

Also a quote for all of you:


“As I have emphasized in previous texts, I consider the act of naming to be on of the most significant protocols of the colonial project. Naming is a way of bringing something out of the shadows, into the light, making it intelligible even fi this means naming over the top. Let us recall that, from the earliest colonial periods to the most recent episodes, the disappearance of the names of the colonized (names of territories, streets, and people) itself constitutes a form of domination and the resurrection of the principle of seizure. Whether it be the transmission of a patronymic from master to emancipated slave or the disappearance of names from the civil register of French Algeria, to mention only two examples, it is useful to notice that this undertaking compliments that of the modern colonialist project, which drives the knowledge, practices and lifestyles of the colonized into a primitive darkness.” by Olivier Marboeuf “The Rioter and the Witch” from Witches: Hunted, Appropriated, Empowered, Queered, Edited by Anna Colin


Artist Interview: Mica Sigourney
Mar 12th, 2012


Alexander McQueen is dead, long live the McQueen
Jan 30th, 2012

From Savage Beauty:

pg 17
“As a human being, he was far more complex, elusive and indeed more magical than any reductive media incarnation.”

pg 18
“…Rather than waiting for someone to disappoint he provokes them into a hostile reaction which confirms his worst suspicions and justifies his own behavior.”

pg 19
“It had very little to do with the clothes and more to do with him as a person. And it’s fundamentally true of anybody. Any interest in the clothes is secondary to the interest in a designer. You need to know you’re a good designer as well though…”

pg 20
“We’re not talking about models’ personal feelings here we’re talking about mine. It’s all about the way I feel about my life.”

pg 26
“He always needed to see how far he could push things, how far he could push himself and everyone who worked with him.”

pg 30
“You’ve got to learn the rules to break them. That’s what I’m here for, to demolish the rules but to keep the tradition.”

pg 74
“There’s blood beneath every layer of skin.”


Jan 11th, 2012


Maryam Quit
Jan 11th, 2012


Masterwork Call for Auditions
Aug 29th, 2011

The artist Mica Sigourney is seeking new members for his company specifically for work on his upcoming residence at CounterPULSE, with rehearsals starting in November and final showing on March 23 and 24th.






-Ability to memorize texts and communicate them clearly

-Desire to work in an ensemble

-Willingness and joy at being directed

-Excitement, even if one of fear


If interested please email us at houseofhorseface@gmail.com with:



A short bio (explaining your performance/artmaking history or nonhistory).

Any experiences you think are relevant.

Availability for rehearsals.

Expectations and Fears.