In the one-woman poetic stage play 52 Letters, writer and performer Regina Evans takes you on a riveting ride along a trail of terrors known as child sex trafficking. Along the way, you’ll be buffeted by disbelief, subjected to shock, and plummeted into peril. Two performances remain on the San Francisco Fringe Festival calendar: Sept. 17 at 9 p.m. and Sept. 21 at 2:30 p.m.—both at Exit Stage Left.
The waves of her performance build slowly into monuments of despair that then cascade into destruction. At other times, they blindside the audience with dizzying force as she unveils the cruelty of a pimp’s blitzkrieg against vulnerable girls as the same stark evil that the Emancipation Proclamation was supposed to end.
Evans’ brilliant poetry and powerful presence transport the audience into the darkest corners, chambers, and alleys of the country where young girls are bought and sold, used and discarded, raped and murdered. Lightning flashes of social conviction punctuate Evan’s nightmare of the torture suffered by over 100,000 children who are commercially sexually exploited in the U.S.
While she portrays the brutality of their existence in raw, haunting clarity—it is the intimacy of their plight that will cling to you in the aftermath of the show. Evans penetrates trafficking’s ugly landscape of violence and violation and exposes the absence of a prevailing protest against it.
In a gut-punching, heart-rending drench of passion—Evans makes the travesty of child sex trafficking intensely personal. Her piercing plea that each one of these precious captive children is “somebody’s baby . . . somebody’s child” culminates in the compelling conclusion—that child is MY child. That child is YOUR child.