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There is this really funny story about a show that Siobhan was at in Edinburgh: this guy was making crass and cliche comments like ‘what sort of place would you have to get to in your life to take money for sex’.

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Sure, some of those have been fairly problematic in their own ways, but we are seeing a rise of acceptance. Generally, we have been preaching to the choir because a lot of our audience were sex workers, close with a sex worker or an ally.

That is great because it is important to give back to the community, and it is so important for people who are marginalised to see themselves reflected in a realistic way on stage.

At any point, at least half of the cast of the opera will self define as working in the sex industry, featuring stories from sex industries the world over.

These narratives span race, age and culture to demonstrate how, like any other job, the people are nuanced.

With sex work, changing policy and fighting in Parliament – like the English Collective of Prostitutes do – is incredibly important, but we are trying to change the culture, like the images that people get fed everyday.

Sex workers are presented in such a polarised way leading to stigma, leading to violence and leading to people seeing sex workers as less than human.It's about telling your own stories in your own words.Alex Etchart: My background is also doing theatre reportage with friends living in Iraq, Syria, Kurdistan, Egypt and Iran: to amplify their voices, to learn from each other, to tell other people’s stories and humanise them.With computer screens and whirring webcams, collective dance sequences and intense back and forths, it's certain the diversity of experience cannot be contained to one form.Amusingly, the narrative of the performance is shaped around an argument between two feminists: the twist is that they are mother and daughter.So, we are trying to reclaim opera for sex workers and show sex workers stories are a lot more broad than these cliche and one dimensional ways.

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