Comedian Desiree Burch once faced a peculiar logistical challenge: procuring a substantial quantity of sex toys for her live show. It wasn't a personal indulgence, but a crucial prop for a uniquely interactive performance.
Her show, “52 Man Pickup,” was a daring exploration of past encounters, fueled by audience participation. Desiree would share stories and lessons learned, inviting the crowd to contribute their own experiences with refreshing honesty.
The core of the show involved a playful game. Male audience members were playfully asked to embody descriptions of her past partners, while women would guess “who the high card should be.” The prize? A brightly colored, undeniably plastic dildo.
Preparing for the Camden Fringe Festival, and having already conquered Edinburgh, Desiree needed to ensure a steady supply of prizes. This meant a significant purchase, bypassing retail and going straight to the source.
“I bought them wholesale,” she confessed, recalling an order of approximately 100 inexpensive toys shipped directly from the United States. The sheer volume raised an eyebrow, even for her.
She readily admitted to expensing the purchase, a detail that initially left her podcast host speechless. The thought of the customs inspection, and the X-ray operator’s reaction, was particularly amusing.
Desiree wasn’t aiming for quality, only functionality. She reasoned that one exceptional sex toy couldn’t compare to the impact of a hundred cheap, jiggly ones – perfectly suited for the comedic effect.
The show thrived on vulnerability, she explained. By openly sharing her own stories, she created a space where others felt comfortable doing the same, unlocking a surprising willingness to participate.
She observed a curious phenomenon, particularly in the US and the UK: a sense of pent-up desire for open conversation about sexuality. Her show provided a playful, liberating outlet for that energy.
Despite the unusual nature of the purchase, Desiree remained unfazed. She playfully suggested that customs officials had likely seen far stranger things, acknowledging the UK’s own hidden currents of playful exploration.
The performance wasn’t about the toys themselves, but the connection they fostered. They were a catalyst for laughter, honesty, and a shared release of societal inhibitions.
