Turning Pain Into Power: The Radical Hope of How To Eat Rabbit

How To Eat Rabbit

How To Eat Rabbit Rating

★★★★★

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The world is coming to an end. Life feels inconceivably unfair and beyond your control. So how would you choose to cope?

Would you adopt ‘a survival of the fittest’ mentality? Would you suffer in silence? Or would you fall into despair in a constant state of lack?

In a bid to connect Australian audiences with human compassion and understanding, playwright Jamila Main excites us with her new production, ‘How To Eat Rabbit’, as part of La Mama’s Hope Punk Climate Festival.

In this independent dark comedy, we come upon a dystopian world suffering from climate change, where two friends, Alex and Cam, decide to bunk together in a burrow. There, they try to persist beneath a world that is literally caving in on them, inch by inch, and metre by metre.

Promising to keep one another safe and sane, they tackle their situation head-on – creating innovative ways to keep to a sound routine. The counting and recounting of tins of beans, stacking them in curious little piles all over the stage: like magical sandcastles. Handpainting pleasurable scenes on the walls of the cave. Daily training activities on repeat to keep boredom at bay. Frequent food and supply runs to keep their health intact.

 

As time rolls on, the atmosphere intensifies, for we are only human after all. A power struggle between the pair. Alex, wonderfully played by Nory Gretz, the more dominant of the pair, takes comfort in controlling the nest, while Cam, seamlessly portrayed by Jamila Main herself, is struggling to physically keep up, desperately hiding a secret about her health – internally collapsing to keep Alex comfortable.

In truth, this show is extremely spontaneous, confronting and radically shocking; depicting desperate, irrational behaviour at the hands of quiet desperation. Keeping us riveted from the get-go – even spotlighting the script onto the back wall of the stage – to not only guide the audience, but to digest and immerse us into the lived experience of these two characters.

But what is most impressive about this show? Is its revolutionary purpose beyond climate change. For Jamila Main is truly on a crusade – to make theatre a platform for greater understanding. For Main, theatre is more than a stage: it is the foundation of community. Where one can share personal struggles via inventive storytelling.

That we can still persevere despite the challenges one faces in life. That we can turn pain into power: with a courageous war cry, every single day.

To book tickets to How To Eat Rabbit, please visit https://www.lamama.com.au/whats-on/la-mama-hope-punk-climate-festival/how-to-eat-rabbit.

Photographer: Darren Gill

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Magical Storyteller, Roisin Mcalinden Highly Anticipated Return To Melbourne For Fringe With Fairytale: Ending

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In a fairytale-turned-nightmare, Roisin McAlinden was swept off her feet by a knight in shining armour, but she quickly found a darker side to the saviour fantasy.

Fairytale: Ending sees British-born comedian, Roisin McAlinden, blend dark humour and intimate storytelling into a cheeky satire of the stories that shape our ideas of love. After critically acclaimed runs at Perth Fringe World, Melbourne International Comedy Festival and Sydney Fringe, McAlinden will return to Melbourne playing at Bard’s Apothecary from 6-10 October 2026.

“Why did you stay?” A common question asked of women after a bad relationship. McAlinden answers, exploring how these love stories lead women to believe that the only path to happiness is being chosen by a man. Even if that man is an angry loner who lives in a dusty tower with only furniture for friends (looking at you, Belle). Better to be like Snow White, perhaps. On the surface a typical housewife, McAlinden reframes her as a savvy business woman who strategically bakes pies for seven wealthy diamond miners.

Directed by Penny Greenhalgh (writer of URZILA starring Urzila Carlson), Fairytale: Ending is a personal and playful exploration of feminism, gender roles, queer identity and the power of women telling their own stories. “Before the Brothers Grimm, the first person to coin the term fairytale was a woman, Madame D’Aulnoy.” McAlinden enlightens. “She was arrested for revolutionary activities. These stories were once used to fight against forced marriage, warn women of the dangers of the world, and build hope for a better future. How different would our ideas of love and happiness be if women had been able to tell our own stories?” Fairytale: Ending is the answer.

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Edinburgh’s Underground Hit About Nothing Slithers Into Melbourne Fringe

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The critically acclaimed SLUGS, a breakout hit of the 2025 Edinburgh Festival Fringe from award-winning performance and comedy duo CREEPY BOYS, is coming to Melbourne. Created and first presented during Melbourne’s lockdown, the boys are back to perform the show live and in person at the Meat Market for Melbourne Fringe 2026.

“We CAN NOT express how excited we are to come back to Australia. We spent a year in Melbourne during the initial COVID-19 lockdown, and have such intense, albeit odd, memories of that year,” said the Creepy Boys. “Melbourne is really where we became not just two people dating, but partners, both in life and in art. We’ve said for years, it is our favourite city in the world and we can’t wait to be back.”

Part electro-punk concert, part play, part clown show, and part basement puppet nightmare, SLUGS is a technicolour acid trip. Created by real-life partners S.E. Grummett and Sam Kruger, it features puppet Joni Mitchell, a two-person horse and just about every body part they have. At its heart, SLUGS is two people trying to have a good time while the world burns. For sixty minutes, at least, we are free.

Nominated for Best Show at the 2025 Edinburgh Comedy Awards, SLUGS became an underground hit and earned universal praise with The Guardian calling it “brilliantly smart and beautifully stupid”. Bringing SLUGS to Melbourne has particular significance for the pair, who spent a year living here during the first COVID-19 lockdown, first in Brunswick and later in a “little apartment cube in the sky” in Moonee Ponds. It was an unusual introduction to the city, but one that transformed both their personal and creative lives. This time, thankfully, they get to experience Melbourne with an audience in the room. That relationship between performer and audience sits at the heart of SLUGS, a show designed to exist completely and unapologetically live.

Together as CREEPY BOYS, and through their respective solo works, Grummett and Kruger have toured Canada, the United States, United Kingdom, Europe and Australia, appearing at Edinburgh Fringe, Soho Theatre, Latitude Festival, SummerWorks, PuSh Festival, Prague Quadrennial, Midsumma Festival, Adelaide Fringe and Fringe World. Their work has also been featured on BBC Radio 4.

Now, after delivering one of Edinburgh’s most talked-about shows, CREEPY BOYS are coming home, creatively at least, to Melbourne. Produced by SKINT and presented for Melbourne Fringe Festival, CREEPY BOYS will present SLUGS at the Meat Market from 1 – 17 October at the Stables at The Meat Market. Tickets on sale now.

Expect music. Expect puppets. Expect clowning. Expect body parts. Just don’t expect them to tell you what SLUGS is about.

SLUGS
Created and performed by: CREEPY BOYS – S.E. Grummett & Sam Kruger
Presented by: Melbourne Fringe
Produced by: SKINT

PRAISE FOR CREEPY BOYS
Best Show Nominee – Edinburgh Comedy Awards 2025
“The underground hit of the 2025 Edinburgh Fringe” – The Telegraph
★★★★ The Guardian
★★★★ The Scotsman
★★★★ Chortle
★★★★★ ToDoList
★★★★★ Broadway Baby
★★★★ Financial Times
★★★★ The List
★★★★ The Skinny
★★★★ FestMag
★★★★★ NorthWestEnd UK
★★★★★ Get the Chance UK
★★★★ ‘A gleefully transgressive underground discovery’ – Financial Times

WINNER – Bragi Award, Summerhall Arts (Creepy Boys: SLUGS)
WINNER – Best Theatre at Adelaide Fringe (Something in the Water – S.E. Grummett)
WINNER – Just for Laughs Comedy Award (Fool Muun Komming! etc. etc. – Sam Kruger)

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Em Barrett: The Weird Kid Who Found Home in Structured Chaos

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From birthing maggots onstage to kidnapping celebrities for marketing campaigns, Em Barrett has built a career on the beautifully bizarre. Now the performer brings their favourite creation yet to Melbourne Fringe; a hapless German poet named Johann, whose desperate fight against capitalism and obsession with Elton John makes for what Barrett calls oddly relatable chaos.

Meet The Performer – Em Barrett

What is this production or show about?

Johann is launching a poetry book. Johann is a very bad poet.

Born in Limburg; Germany, Johann packed his quill and moved to the small town of Tīrau, (NZ) to free himself of his parental constraints and find himself as an artist. Now he is ready to share his angst with the world.

With a diary full of inspiration (and sheep poo), Johann has arrived in Naarm to launch (or attempt to launch) his first poetry book.

Unfortunately, as he presents his painfully curated manifesto, he will be sidetracked by his hatred of society, his love for Elton John, and his ongoing frustration with capitalism. Will we ever hear the full book? Do we want to?

Why did you want to be part of this production?

This is a funny question to me, as I have never been sure why. I think as a weird kid turned weird adult, performance feels like the only way I can communicate in the world. (God that sounds really theatre kid-esque, I promise you I am not a theatre kid. Quite the opposite really.) I could never imagine myself in a ‘regular job;’ whatever that means. Performing and making art are really the only ways I feel truly myself.

Em Barrett

What has been your favourite performance or role so far in your career?

I have played a fly birthing maggots live on stage; I have played a magical gateway entity for a real life open world game; I have even played a flavour scientist for the strangest marketing campaign (and borderline celebrity kidnapping scheme) I’ve ever been a part of. But by far, Johann is my favourite role. He is just so awkward, and desperate to prove himself. His fight to keep things together whilst simmering with rage and despair at the capitalist world is oddly relatable.

Have you ever had to improvise or adapt during a live performance? What happened?

Ohhh all the time! I love to incorporate some structured chaos into my shows. For example, Johann is obsessed with asking audiences to suggest poems for him to create. He will then make up a live poem on the spot based on the suggestions. Sometimes they are poems, sometimes they are songs. Sometimes they are just a long tortured vocalisation as Johann stares into the abyss. It’s always fun.

What strategies do you use to manage nerves before you go on?

Eat some good kai (food); breathe; stretch and do a vocal warm up. Maybe do a speed run of the performance. Self care and pre-show warm ups are vital for me to be in the right headspace.

What sort of person is going to love this show?

A show for poetry lovers and haters alike.

Is there anything else you would like to share?

I’m proud to announce that the full season of Ode to a Grape will have Open Captions and a Low Sensory Show on the 30th September. You can find the access guide here: https://www.melbournefringe.com.au/whats-on/events/ode-to-a-grape

A huge thank you to Em Barrett for sharing the gloriously weird journey that led to Johann and his rage-filled poetry. If you are ready for live improvised poems, existential vocalisations, and a performer who thrives in structured chaos, grab your tickets to Ode To A Grape at Melbourne Fringe.

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