let bleeding girls lie

Pictured: Chanella Macri. Image by Jack Dixon-Gunn.

let bleeding girls lie examines the unexpected intimacy between Grace, Juice, and Lou, three strangers donating plasma at a Melbourne city blood bank during the Manchester Arena attack. Live carnage unfolds on the news, forcing private lives into public space as the women seek strength in each other. 

Shortlisted for the 2019 Queensland Premier’s Drama Award and the Rodney Seaborn Playwrights Award, let bleeding girls lie is the final work in a trilogy of plays exploring grief and care in public space presented by La Mama and produced by VIMH. 

‘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

let bleeding girls lie received its world premiere during a sold out season in December 2021 at La Mama Courthouse. It was nominated in five categories for the 39th Green Room Awards in July 2022, winning Best New Writing for Independent Theatre. 

Written by Olivia Satchell with Chanella Macri, Belinda McClory and Emily Tomlins 

Performed by Chanella Macri, Belinda McClory and Emily Tomlins 

Directed by Olivia Satchell 

Dramaturgy by Emma Valente 

Production design by James Lew 

Sound design/composition by Tom Backhaus and Hannah McKittrick 

Lighting design by Jason Crick 

Produced by Lauren Bennett 

Image by Jack Dixon-Gunn 

This production was supported by the Victorian Government through Creative Victoria, the Robert Salzer Foundation and the Besen Family Foundation.