They Must Birth Us or Fuck Us to Love Us

Three women deride the intimate, the political, and the transnational in author and playwright Camara Lundestad Joof’s debut at The National Theatre.

Are you allowed to fucking hate Beyoncé?

Does our rage have to be so goddamn generous that I have to use it to change the world?

Bang, bang, patriarchy! You’re dead!

Three women talk, discuss, argue, and jump in and out of situations, characters and issues. They each look at the world differently, but the world’s view of them is often experienced as limiting. The dialog is a stream of words, humor, apt formulations, vulnerability, anger, and intensity. This play is about racism and sexuality, longing and polarization – and the eternal responsibility for how others view you. Are you always obliged to stand up for your cause? Does your rage always have to be groundbreaking and constructive? Or can you just be allowed to be offended?

Camara Lundestad Joof is known as a performing artist, author, and contributor to social and political issues. She is now also a resident playwright at The National Theatre, and They Have to Give Birth to Us or Fuck Us to Love Us is her debut in this role. The play is an extension of Lundestads Joof project in which she often writes autobiographically about her meeting the world as a young, queer female of minority descent.

Camara Lundestad Joof delivers a brand-new classic. (…) [The play] meets sky-high expectations and then some.


It is dazzlingly uncomfortable and provocative, wildly entertaining and sexy. Extremely cleverly done.


The play is thought-provoking, painful, furiously funny, and, as most people rave: Almost insatiable.


A political and social struggle on behalf of us all. It’s also fantastic theater.


The text brims with furious momentum, humor, and reflection.