Mister Cobra, a semi-autobiographical solo theater-music performance by Lucy Liyou, combines free-jazz, korean folk opera, musique-concrète, 2000s era pop, text-to-speech recordings, film, comedy, and drag-inspired performance techniques to confront and dematerialize the boundaries of their transition, and reconsider her transition and personhood as inevitably intertwined with public spectatorship.
 
Liyou looks at Mister Cobra as a humiliation ritual that confronts and dematerializes the embarrassment one has regarding the traumas that inform the boundaries of one’s transition. It raises questions about the role that desire plays in one’s transition, how abuse can distort motivations to transition, and where transitioning “begins” and “ends” (assuming that these points even exist).