Emma Sandborgh makes the raw, uncomfortable and taboo into unforgettable theatre.
The feminist solo performance Naughty Swedish Girl Destroyed, written and performed by Emma Sandborgh, is an engaging and intellectually stimulating piece of contemporary theatre. Combining autobiographical storytelling, songs, humour and research, the production explores the experience of growing up in a culture saturated with pornography and examines its influence on sexual identity and expectations.
The audience is drawn into the world of the play even before the formal narrative begins. As the performance takes place between two other shows, the audience witnesses the stage being prepared in real time. The space is illuminated in a dim, dark red light while recordings of women’s pornographic voices play softly in the background, creating a deliberately provocative atmosphere. During this moment, Sandborgh quietly arranges the set in full view of the audience, placing lingering, maid costumes and a variety of sex toys and dildos across the stage. These objects gradually accumulate and remain visible throughout the performance, later being revealed and used at different moments, sometimes symbolically, and sometimes for comic effect.
The narrative begins with the image of a teenage girl rushing home to view explicit material online. From this starting point, the play examines how early exposure to pornography can influence perceptions of sexuality, intimacy and gender roles. Sandborgh guides the audience through a series of reflections that explore both personal experience and broader cultural attitudes.
An early memorable moment occurs near the beginning of the performance when Sandborgh reads aloud a series of explicit video titles. Initially, many of these titles appear so outrageous and absurd that they provoke laughter from the audience. However, as the sequence progresses, the titles become increasingly aggressive and misogynistic. The humour gradually gives way to discomfort, as the audience is reminded that these examples are not fictional but drawn from real content. The sequence near culminates with the performer reading the title of the play itself, reinforcing the central theme of the production. This gradual shift demonstrates Sandborgh’s command of timing and audience response.
Throughout the performance, Sandborgh moves fluidly between different forms of storytelling. At times she presents factual information and statistics; at others she offers social commentary or reflections about relationships and sexual expectations. The piece also includes interview-style responses from various voices, creating the impression of an informal investigation into the role of pornography in contemporary life, where individual experiences are used to explore broader cultural questions.
A key theme of the play is the paradox that pornography occupies within modern society. Despite its widespread consumption and commercial success, open discussions about pornography and its effects remain largely taboo. At the same time, sexual imagery is highly normalised in advertising and media culture. Sandborgh raises the important question of how individuals can meaningfully communicate about desire, boundaries, and expectations if open conversation about sexuality remains limited.
As a performer, Sandborgh demonstrates impressive versatility. The production blends narration, acting, physical theatre, and comedy, while also incorporating musical elements. Dressed simply in black throughout the performance, Sandborgh maintains a clear visual focus on her movements and expressions rather than costume changes. This simplicity allows her physical performance and storytelling to remain central. Her ability to move fluidly between humour, commentary and physical performance gives the show a strong sense of momentum and variety.
Ultimately, Naughty Swedish Girl Destroyed is a powerful and thought-provoking piece of theatre. Through a careful balance of humour, research, and personal reflection, Sandborgh invites audiences to consider the cultural forces that shape contemporary understandings of sexuality. The solo format places the entire weight of the production on her presence and she carries it with remarkable energy, confidence, and engaging theatricality.