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Something old, something new, something borrowed, and something… removed?!?!


48 hours before my wedding, I found myself reading The Daphne Massacre and decided to make the last-minute decision to apply for the Inter-Outer Program.

Reading The Daphne Massacre, I found myself immersed in Donna Abela’s world, where women were going through a pre-martial extraction of all their teeth to stay thin, look attractive, be good wives, and save money.

After reading the script, Abela had me reflecting on my pre-marital preparations hours before my big day. Being immersed in the script’s themes and its ability to challenge beauty standards in a thought-provoking way, I knew I wanted to bring awareness about the trends and effects of extreme diet culture, cosmetic surgery, and ever-changing beauty standards.

By bringing Abela’s work to life, a world where it was normal to rip out teeth for beauty, I knew it would have you questioning your limits when conforming to beauty standards and societal norms. And you are probably thinking, ripping your teeth out is the limit, because we are self-conscious about our teeth.

But what if I told you that history repeats itself, and we are already ripping our teeth out for beauty standards and trends? As we know, beauty standards change over the decades and reappear years later. I'm talking about you, Herion bod and 90s-style clothing!

Now, with social media and influencers (with their discount codes), we can't help but be consumed by fast fashion, beauty trends, cosmetic surgery, and beauty standards. Instagram and TikTok have us glued to the screen on what the ideal body should look like and how to get it. Ever-changing diet trends, thin brows, fluffy brows, low-rise jeans, high-rise jeans, the ‘no makeup’ make-up look, hourglass figure, Kardashian butt, no hip dips, flat stomach, fillers in lips, cheeks and forehead, the barbie look, and the appearance of teeth! Teeth whitening, Invisalign, braces, caps, crowns, implants, and talking with your lower teeth (thanks Megan Fox). We can't get enough of it and keep returning for more!

Remember when I mentioned history repeating itself? From the Victorian period to the 1930s, women would have their teeth extracted before marriage. And it was often the men paying for the extraction and having a set of dentures made up. Why? To stay thin, save money, and it's fashionable! Sounds familiar, doesn't it?

Now, here we are in the early 2020s, seeing this same trend repeating itself, removing our teeth for beauty standards.


I want to thank Emma Keen and Lucy Wise from Launceston Psychology Clinic for their support, guidance, and collaboration on The Daphne Massacre.

Eva, you da best Stage Manager. Thanks for keeping me on track.

Finally, a huge thank you to Chris and Grace and the IO team for allowing me this opportunity to direct.

Thank you for believing in me and your ongoing support throughout this process. I couldn't have done it without you. Appreciate you.


Please note: The central metaphor of this theatrical and non-naturalistic play is deliberately absurd, and poses comparisons with extreme dieting and cosmetic surgery.


So… The dentist will see you now. For your pleasure. Sit back. There's gas on tap. And say, ‘Daphne’.


- Caitlyn Stirling, DIRECTOR



Caitlin is a qualified Arts Specialist Educator in Launceston and has worked with students of all ages, teaching across The Arts. As a result of her enviable upbringing (thanks Mum), and various stupendous arty experiences, her mission in life is to spread engagement in The Arts like a common cold, and teaching has been one of the stepping-stones allowing her to do that. Since graduating with a BCA in 2013 and a MTch in 2015, Caitlin has been fortunate to work as an actor, designer and director with a variety of local theatre companies and schools, and is very proud of and grateful for the opportunities afforded her. Of particular note was her direction and co-design of Very Still and Hard to See for IO Performance in 2019, a show that had the most glorious team and was nominated in six categories at the TCT Theatre Awards that year. Most recently, Caitlin has appeared in The Dark Room for IO Performance, and A Clockwork Orange for The Launceston Players.


Angie is thrilled to be joining IO again for a Daphne Massacre! Last year she acted in their show Radiant Vermin, for which she won Best Female Lead at the Tasmanian Theatre Awards. She also recently featured in A Clockwork Orange and Away by the Launceston Players. Angie first delved into IO Performance shenanigans with Mr Burns: A Post Electric Play in 2021 - probably the most fantastically weird and wonderful show she could have started with. Angie also dances with STOMPIN, where she both choreographed and performed for their recent show as a part of Junction. 


Tash has had "the pleasure" of working for many years in performing arts, both onstage and behind the scenes. She graduated from UTAS theatre studies in 2009, received the 2010 UTAS Country Club Tasmania Theatrical Development Award and was nominated for a Tasmanian Theatre Award (Supporting Actor) in 2021. Tash's recent performances include Blank and Mr Burns: A Post-Electric Play (IO Performance); The 25th Annual Putnam County Spelling Bee (Launceston Musical Society); Reflections of Love (SPC); Bums on Seats and The Bridesmaid Must Die! (Launceston Players). Much love to Jules and Alfie


After another lengthy absence from performing Kristen is once again making a return to the stage in her first production with IO Performance. Kristen began performing at the age of 3, appearing in concerts, school productions & Rock Eisteddfods during her early years. She also appeared as a regular solo performer at Serendipity theme park in Devonport back in the 1980’s. Since leaving school she has been involved on & off stage in various productions including Hello Dolly, A Kids Christmas, Guys ‘n’ Dolls, Legally Blonde, Dusty - The Original Pop Diva & 9 to 5 with the Launceston Musical Society and Eurobeat & Whose Life is it Anyway? with The Launceston Players. When Kristen isn't spending her time immersed in theatre life she is busy being roadie, seamstress, accountant, manager, photographer & cheerleader to her talented children Bailey and Ariana & husband Liam. Kristen has throughly enjoyed the ‘Daphne’ experience and feels extremely privileged to be working with the IO team.


Growing up in far North-West Tasmania, Julius definitely did not grow up in a creative mecca. But what it lacked in art and sophistication, it more that made up for in cows. Yet, Julius always found ways to express his artistic nature - even if his audience numbers were always few, often bewildered, and usually cows. Once Julius hit high school his world exploded, his horizons grew exponentially, and his creative passion increased immensely when he was exposed to the buzzing culture-filled metropolis of Smithton. While he enjoyed the local theatre scene and its well-educated critics, Julius moved to Launceston in 2006 to undertake his BCA at UTAS. Needless to say, his mind nearly melted when first experiencing a new city even more riddled with arts and culture than Smithton. To this day, Julius still loves being enveloped in the world of theatre and joy of working with Launceston companies such as IO Performance, Three River Theatre, and Launceston Players. Although he sometimes misses the cows.









This play contains extreme dieting, cosmetic surgery, mentions of sexual assault and body image themes.




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