In 431 BCE, Medea takes a knife to her children for the first time. 2500 years later a woman in Queensland stabs her children as they lie peacefully in their beds and in a tiny fringe venue in Melbourne, a woman confesses her struggles with IVF.
The audience is invited to listen as Kate Stones recites stories of barbaric women, psychological theory and personal thought or experience. Stone’s increasingly frantic performance opens up a dialogue about motherhood and what happens if you can’t or don’t do it.
The Quiet Bite is not an adaptation of Medea. It’s an evisceration. It breaks apart myths and assumptions about women and mothers with ever-increasing ferocity. An equally chilling and visually engaging new play, The Quiet Bite fearlessly revolts against labels of womanhood and motherhood leaving no stone unturned.