A bright rainbow light in a black and white world, Lipstuck fights back against the binary and the systems that determine how you live your body and your life.

Experience an intimate queer kaleidoscope, fusing live alchemy, participatory performance, and verbatim storytelling. Eclectic experimental artist Daley King lays bare the stories behind the lip shade, sharing the engrossing anecdotes and fascinating insights of a diverse community of humans. Vividly dissecting the zeitgeist of lipstick, Lipstuck examines its history as both a tool of body politics and a weapon of oppression. A bright rainbow light in a black and white world, Lipstuck fights back against the binary and the systems that determine how you live your body and your life.


Form and Style:

The work takes the form of small meeting of audience, a circular, 30-person experience. Most audience members are invited to read small stories and quotes about lipstick, or help Daley as they make lipstick live, from scratch on stage, or interact and help in a variety of ways. Daley takes the audience on a journey through the history of lipstick, from Mesopotamia onward, whilst exploring and expanding on their own experiences as a non-binary human, and the crowd-sourced experiences of other lipstick wearers. It’s extremely engaging, accessible, and warm.


About Daley Rangi:

Daley Rangi is an eclectic intersectional, multidisciplinary artist generating unpredictable and uncomfortable written, visual, and performance works. They are non-binary, Māori, and neurodiverse, and utilize these lenses to invade and deconstruct the status quo, whilst attempting to evade categorization. Their energies are focused on speaking truth to power and encouraging social change through their art, creating wide-ranging, important artworks exploring decolonization, queerness, and disability. They are currently on the Performing Arts WA judging panel and have completed numerous extensive programs with major local and national arts institutions. In addition to reconnecting with whakapapa in Aotearoa, and te reo Māori, Daley has studied and achieved certificates in Māori Protocol and Culture, Noongar Language and Culture, and Endangered Language Revival. A focused taskmaster and autodidact, with a holistic approach to problem-solving, they are also a trained Stage Manager with an Advanced Diploma of Live Production and Management Services from WAAPA.


Community Engagement:

  • Panel discussions with local queer community members and allowing their voices to be heard.
  • Having sustainable lipstick making workshops with young (and older) folx.
  • Meets and greets, and conversations over coffee and/or drinks
  • Open up conversations about identity and queerness (and browns in a way) in a warm and welcoming, space and allow stupid questions to be asked.
  • Able to make myself available to (especially the queer) community in each place I visit, and the folx who might not quite understand where I’m coming from.

Available Marketing:

Full marketing collateral available from PICA season, will redo photographs to fit with touring season, (additional costs may apply). High quality photographs available from previous season.




“As this is a show about stories – because what is history if not multiple stories? – King asks the audience to read aloud the stories literally hidden behind the shades. These stories are by the marginalised and disenfranchised – people of colour, non-binary, women in religion, victims of misogyny under a patriarchal system – and it is wonderful to hear their voices broadcast loud and clear by another. King’s approach is subtle – they almost seem indifferent when inviting the audience to literally get out of their comfort zone and speak publicly (a task many find daunting even when the words are their own) – yet their eyes sparkle as they see the audience respond through laughter or anger or sadness at the voicing of the voiceless. Lipstuck is an intimate and kind show – King’s gentle and encouraging smile is infectious and they have the incredible ability to make one feel comfortable when dealing with uncomfortable topics.” – Fourth Wall Media, 4.5 Stars.

“…out of a deep commitment to bring all manner of stories to the stage, Lipstuck erodes the elitist and unnecessary bridges between performer and audience with a loving invitation to deconstruct our understandings of whose stories matter and why and who gets to tell them. In no other place this Fringe will you see a straight man volunteer to amplify the voice of a visibly queer person and their trauma, or a white woman warmly amplify the voice of a Pashtun feminist, in a room where everyone is truly welcome and visible. Rather than speaking truth to power, Lipstuck speaks truth to community, with the same vitality and multiplicity one can expect to see from the middle of the Murray Street mall. King critiques the status quo from beyond it, and speaks to those within it from a place of welcoming, joy, and determination. Travelling together “across all binaries”, Lipstuck is a moving and gently provocative call to comfort and to confront. It is a great challenge to make a work about all sides of society, for all sides of society, while also speaking to individual experiences. But through the embodiment of social responsibility and the lovingly relentless humanising of the dehumanised, King asserts a theatre for all: a class and environmentally conscious feminism for the 99%, and a jubilant and inclusive celebration of everyone’s right to embrace ourselves.” – Pelican Magazine, 4.5 Stars.


“Some of the strongest, most affective and political points in Lipstuck overall arise when audience members read out short reflections about wearing lipstick taken from responses to interviews King has conducted with the general public. A recurrent theme in these responses is negotiating the sometimes oppressive, sometimes joyous, conventions around gendered self-presentation.” Seesaw.



February 2021


Participatory / Interactive


Young adults and baby boomers, the work appeals to anyone who wears lipstick, and is accessible to those partners, friends, and family who do not - it is not a work for children, however is very accessible for teenagers to access as its very body positive


60 minutes

Bump In

2 hours

Bump Out



- Weekly Fee: $5,700
- Remount $3,600
- Royalties 10%
*Above fees do not include touring costs

Company Contacts

Daley Rangi
045 114 4489

Company Website

Tell me more

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Venue Format

Black box, or warehouse style, no raked seating

Touring Party

2, performer and stage manager/driver. (3 if another driver is needed.)


Staging/ Set Description: In the round, 30 or less seats wiht provided blankets, tarkett floor and metal trolley

First possible performance: 2 hours after bump-in

Minimum break between shows: 3 hours

Theatre Formats: Black box, or warehouse style, no raked seating

Minimum stage width: 10m

Minimum stage depth: 10m

Minimum stage height: N/A

Lighting provided by the company: 4 standing lamps

Lighting to be provided by the venue: Basic overhead wash and spots, and amber colour

Audio provided by the company: Wireless headset mic, and portable PA

Audio to be provided by the venue: Basic audio playback, one singular track, and input from wireless headset

No. of additional staff to be provided by the venue:1 technician to help set up sound and lights for stage manager to control

Dressing Rooms Required: 1

Other technical or performance notes: Venue needs to be isolated or able to be, as hot water and steam is (safely) used in the work to make tea, and melt lipstick