Created and performed by Holly Bohmer
A horror-comedy masterpiece that is as hilarious as it is dark.
Reviewed by Rachael Vassallo
The Motley Bauhaus, Carlton
Until 6th April, 2025
Tickets: https://www.comedyfestival.com.au/browse-shows/don-t-let-me-eat-my-babies/
Type: Ironic, scary, solo
If You Liked: Kinder, Diane Morgan, Fleabag
5 STARS
Don’t Let Me Eat My Babies is one bizarre night at the theatre. Loved by many, disliked by those that are avert to the smell and texture of hardboiled eggs. It is not a show about babies or eating them, but rather an expo about growing up human. It grapples with the miracle of life and the trauma that follows. The only babies we see here are plastic, stuck on the back of mirrors, or exist within the many characters Holly Bohmer transforms into throughout this very weird performance that is as hilarious as it is dark.
We are welcomed into an absolute dive of a venue up a long staircase into a tiny 20-seat performance space. As the lights were dimmed, perspective shifted, and the space actually appeared much larger. This is Bohmer’s apparent debut, though her triple-threat skillset implies otherwise. Bohmer enters the space humorously ready to tackle the heavy topics as a psychoanalyst studying how our infancy impacts our adult mindsets. Audience participation is almost compulsory in the first two rows, with Bohmer candidly tearing into the childhoods of the first row of audience members.
Bohmer shifts between characters with ease, taking on roles she considers her babies, as creations birthed by her. We are introduced to a year seven student, wanting to make her life seem more interesting than it is, and a clueless sex shop employee. Whilst the rest of her characters are human, I thoroughly enjoyed her abstract take on a very maternal chicken adoring over her eggs because of the brilliant physicality and vocal performance. Nevertheless, there are two characters that stood out to me and must be praised for their fabulous social observations. The first being a Lifeline employee who provides a spot-on critique of the mental health industry. Brushing over the very real socio-cultural reasons behind the caller’s depression and instead stroking their own ego with the struggling caller. I was also blown away by the character of the overbearing narcissistic mother who cannot see the ills of her own behaviour.
However for me, the absolute highlight of this performance was the unapolagetically blunt approach Bohmer took the cause of trauma. Poor conduct is blatant in Bohmer’s script, calling out the behaviour of the people in our lives that trigger trauma instead of supporting the long-cherished societal structures that cause and protect this behaviour. What is depicted in Bohmer’s characters is an exaggerated, hysterical portrayal that does not shy away from raising a few eyebrows. The audience is left with the sad reality that people are more interested in their own lives than the lives of others.
Holly Bohmer is a very physical actor who creates characterisation through mannerisms. I cannot fathom how this is her debut performance as it was so refined and professional, I would consider her a natural artist. With her character of a year seven schoolgirl she manipulated her hair to part her fringe on the side and played with her split ends and twirled her fingers through it. It was surprisingly believable and an absolute highlight of her act. Her demeanour as an overbearing Toorak mother, whilst very exaggerated, was also realistic. It is unbelievable that anyone would act in such a manner, though the character is obviously based on real people people, and from the laughter in the audience, was a recogniseable character as well.
I thoroughly enjoyed the costume design, particularly the slightly uncanny chicken. The chicken costume featured mismatched googly eyes upon a ghoulish khaki faceless hood and sinister claws. There were also wonderful props used throughout including a mirror with a picture of an infant’s face and a lovely bird’s nest with real hardboiled eggs. The performance also features a variety of versatile props used as furniture and flora.
This has been my highlight so far of the Melbourne International Comedy Festival. This show is a completely hidden gem, nestled away in the confines and eager to reach a wide audience. I cannot recommend it highly enough, it is utterly deserving of patronage and a night out in the very grungy Motley Bauhaus.
Book tickets to the Melbourne International Comedy Festival 2025 here.
