Femoid (Vixen Theatre Company), at Theatre Works’ Explosives Factory and the Old Fitz Theatre

A pathological hatred and disdain for women is brought into sharp focus in a searing production from Vixen Theatre Company.

Frankly, what is depicted on screen behind the actors disgusted me.

And what makes it more appalling is that every word of it is true. 

Photos by Steven Mitchell Wright

Welcome to the domain of incels (involuntary celibates) and “manosphere” influencers with millions upon millions of followers.

All the wording shown in the show has been sourced from incel forum boards and is presented unedited and uncensored.

This is the world in which we live – ugly, combative, misogynistic and the starting point for Femoid, which is a derogatory term for women.

The contrast between the naïve and the gutter rats who prey upon females couldn’t be sharper and that is exactly what is highlighted in this incendiary play. 

We are dealing with three girls in their final year of a Catholic school. All are wet behind the ears.

They speak of boys and kissing and sex and tampons and future careers – typical teenage stuff.

And then tragedy strikes, which brings us back to where we started – those who post vicious material about girls and women online, and revel in so doing.

Before this is over, the youngsters will discuss the senselessness of it all. 

They are looking for explanations, but there are none. They are trying to move on, but how can they?

My fear is that with the inevitable spread and greater sophistication of AI, the incels and haters will find yet more avenues to spread their bile.

As the action takes place between the three girls in school uniform on stage, projection after projection is displayed with the derogatory remarks of incels.

Here are a few of the tamer comments: 

“Teenage girls are dressing increasingly sluttier and it’s driving me mad.”

“If I could stop time, I would sneak into her house and play with her like she was my sex doll.”

“Ripping her clothes off, putting my hand over her mouth, stretching her tight ….. against her will.”

And on they go. 

These are often accompanied by voice-over and then jarring, crunching sounds, adding impact. As if the words themselves are not impactful enough.

After establishing the girls’ credentials, Femoid moves back and forth in time, leading up to and beyond the pivotal incident that I referenced earlier.

A recurring expression used throughout is the Latin phrase alea iacta est, which translates to “the die is cast”.

It is attributed to Julius Caesar when he led his army across the Rubicon River in Northern Italy in 49 BCE, breaking Roman law and starting a civil war.

There is an easy-going authenticity about the performances of the three young actors.

Iris Warren, who also wrote the piece, Roisin Wallace-Nash and Natasha Pearson interact well and, in character, stir each other up.

Around them, the direction from Izabella Day is skilful and the production values are particularly strong.

I refer to the video design from Jacques Cooney Adlard, the lighting design by Tom Vulcan and the sound design by Lachlan Ives.

The beauty in the floral set design by Roisin Wallace-Nash is evident upon entry into the theatre and its true meaning is revealed late in the piece.

The real shame about this powerful and compelling work is that those who harbour the bitter and twisted views depicted aren’t the ones that will see it.

While the repulsive, hateful misogynists need to be called out, held to account and “educated” after each new rant, I fear that will never happen.

Still, bravo to Warren, Day, Wallace-Nash, Pearson and the team behind Femoid.

Fifty minutes without interval, it is playing at Theatre Works’ Explosives Factory until 21^st March.

It then moves to the Old Fitz Theatre in Sydney from 31^st March to 10^th April, 2026.