my sister feather / la mama courthouse 30 may – 10 june


“I thought I’d let her know I made it after all.”

Tilly and Egg have been waiting for their mother to find them. They haven’t seen her since she disappeared during a game of hide-and-seek when they were kids.

They’re middle-aged when Tilly receives two letters from her. She’s dead. Egg’s in prison, and Tilly needs special permission to visit and let her know.

Tilly was supposed to keep Egg close but it’s only the spectre of their mother that now brings them back together.

my sister feather is the second play in a trilogy of works by Olivia Satchell about grief, memory and the female body. Written for two of Melbourne’s leading performers Belinda McClory and Emily Tomlins, this world premiere has been shortlisted for the Rodney Seaborn Playwrights’ Award and Max Afford Playwrights’ Award.

You can find some of the critical responses to this work below.

“Satchell’s text masterfully crafts these characters in this moment. Very little in this play is extraneous to this fragment of these women’s lives, but they are such complete portraits that we feel like we know their whole story, even though we really don’t.”

Witness – Review

“As the sisters, Tomlins and McClory are simply superb. “

Timeout Melbourne – Review

“[T]his is a play of intensity and courage that swims in a sea of complex femininity”

Theatre People – Review

My Sister Feather is a terrific play, fully resourced in terms of theatricality, sensitively understated and well- constructed.”

ArtsHub – Review

“It was my first time attending a show at La Mama. With its proud history of fostering and supporting great Australian talent (Cate Blanchett and Judith Lucy among their alumni), my expectations were high and I was not disappointed.”

Stage Whispers – Review


Writer/Director – Olivia Satchell

Cast – Emily Tomlins & Belinda McClory

Dramaturg – Emma Valente

Sound Designer – Tom Backhaus

Lighting Designer – Jason Crick

Set & Costume Designer – James Lew

Assistant Director – Fiona Spitzkowsky

Stage Manager/Operator – Julian Dibley-Hall

Producer – Anna Kennedy

Publicity – Eleanor Howlett (Sassy Red PR)

Image – Sarah Walker

Performing 30 May – 10 June at La Mama Courthouse. Head here for full production details and tickets. 



the voice in my hands (VIMH) produces bold original new work and provides ongoing development opportunities for new writing for performance.
VIMH pursues risk, rigour, and care in everything it does.
I sat and waited but you were gone too long
I sat and waited but you were gone too long, 2016. Image by Sarah Walker.



dinner and a show


dinner and a show is a development program that brings new writing into a shared social space.

Too often, writers feel unattended during the inception phase of their work. What if other artists could bear witness and provide a safely-sprung sounding board to the wildness of early drafts?

dinner and a show will facilitate a monthly reading of a new writing project. Please note, new writing does not simply mean new plays; this category may be as broad as the writer could wish it.

All the writer has to do is show up. Artists will be arranged and a home-cooked meal will be provided for all those attending.

That’s it.

Read the play, eat the food, probably chat about the play.

Across this series there is an ongoing conversation about what new writing can contain and where it might stretch to – each writer is either interviewed or contributes in some way to the VIMH blog about what is driving their work.

dinner and a show wants to inspire conversation, connection and collaboration. If you’re keen on getting involved please just shoot us an email at


Angus Cameron – in the mirror, darkly

Christopher Bryant – The Great Dark Spot

Fiona Spitzkowksy – The View From Up Here

Jane E. Thompson – The Narcissism of Small Differences

Eric Gardiner – BARON バロン

Emily Sheehan – Fucked Up White Girls

Hayley Lawson-Smith – Fly

Brendan McDougall – Sorry I Love You

Grace De Morgan – Quite Drunk Very Jesus-y

dinner and a show is being generously supported by The Rodney Seaborn Playwriting Support Fund.


application database


I read an article a while ago about a woman who tried to write a minimum of 100 applications a year. Not only did she inevitably have some success (my Dad once gave me the dating advice that if I asked out 100 people, statistically 3% would say yes), but she kept a data log of each application to track feedback, the development of her ideas, and to remind herself that ultimately a lack of success is not necessarily because her idea or even her application was substandard. Given the probabilistic nature of success, if one of her applications was used again with a different granting body, it might well be successful without altering a single word.

As part of VIMH’s commitment to sharing resources as well as to embracing the value of failure, this is a centralised database of a curated collection of Melbourne and Sydney-based arts applications (including prizes, funding, workshops, etc):

find it here

It is by no means comprehensive and will be built upon weekly.

Please email if you’d like anything to be included.