VIMH (the voice in my hands) produces bold original new work and PURSUES RISK, RIGOUR AND CARE IN EVERYTHING IT DOES.

VIMH is an independent theatre company based in Melbourne. We make new work that sits in liminal spaces and imagines alternative ways of being together. We also have a community gathering practice, where experimentation feels safe, artists feel supported, and practice is rigorous and inclusive.

coming up – the view from up here

The View From Up Here by Fiona Spitzkowsky. Pictured: John Marc Desengano, Chanella Macri and Emily Tomlins.

In the ashes everyone’s been scorched. Family, survival and legacy in the aftermath of disaster.

Eva and Lily have returned to the farm following a catastrophic fire season. The family home has burnt to the ground, the fences have melted, the neighbours have fled and the animals have perished. Maggie, the matriarch, is living in a caravan on the blackened earth where the house once stood tending her new vegetable garden and refusing to leave her land. Painful family histories are revealed that force questions and confrontations to the surface. How much can this family ask of one another amidst the ashes?

Tackling the lived realities of a world increasingly affected by global warming and the impacts on our experiences of family, The View From Up Here by Fiona Spitzkowsky reflects and raises questions about the tapestry of our Australian zeitgeist. This theatrical experience investigates how we might find hope in one another in order to face tomorrow together.

18 – 28 May 2022, Theatre Works. Buy tickets here.

recent work – LET BLEEDING GIRLS LIE

let bleeding girls lie by Liv Satchell, 2021, La Mama Courthouse. Pictured: Emily Tomlins, Belinda McClory and Chanella Macri. Photo by Darren Gill.

‘Let bleeding girls lie is a funny and profoundly touching play, stylishly designed and directed, that touches on sombre subjects such as gendered violence, or women’s experience of loneliness and ageing, with empathy and humour.’
– The Age ★★★★

‘Satchell and the rest of her team have a trust and reverence for the theatrical power of stillness and it’s one they take profound advantage of; before a line had even been uttered I felt an intuitive understanding of all three of these compellingly ordinary women and would have followed them wherever they cared to take me.’

– Theatre People ★★★★

let bleeding girls lie was funny, deeply touching and at times heartbreaking. It beautifully highlights the power of care and connection in difficult times.’

– Theatre Travels