He Had It Coming, part of the Melbourne Fringe Festival, takes on the intersection of true crime and gender, foregrounding four notorious women who pled guilty to their violent acts. Conceptually, the show is promising: exploring the overlooked stories of female perpetrators who, unlike their male counterparts – Bundy, Dahmer, Gacy etc – are often buried in the annals of history.
Figures like Julia Tofana, the 17th century poisoner responsible for over 600 deaths, are as fascinating as they are unsettling, yet these stories are rarely afforded the same cultural spotlight. The premise of unearthing such narratives and presenting them for audience judgement is worth persuading your friends to get out of bed on a weeknight. Â
The production introduces us to our host, Femme Fatal (Jemimah Ashleigh), her assistant (Amber Louka) and the murderesses and assailants: Julia Tofana (Eleni Vettos), Marianne Bachmeir (Bridget Sweeney), Lorena Bobbitt (Tina Manoussakis) and Katherine Knight (Chelsea Heaney). While the performances vary, Vettos stands out as the poised and haunting Tofana, and Heaney delivers a show-stealing portrayal of Knight – though she occasionally veers into caricature.Â
The direction, also by Ashleigh, sometimes hampers the performers with blocking that, in the Provincial Hotel’s intimate upstairs space, frequently leaves actors partially obscured. The characters drift across the stage, recounting the grisly details of their crimes and picking on an audience member. A slide show accompanies the narrative, though this visual element feels underutilised and peripheral, especially given the courtroom drama aesthetic for which the production seems to be aiming.
The historical and psychological depth of these characters is absolutely ripe for theatrical exploration, but the production’s confused tone dilutes its impact.
For instance, the use of contemporary slang by characters from the 1700s disrupts the period authenticity, while moments of awkward bickering and a clichéd ‘ditsy assistant’ trope push the play toward farce (and whatever happened to women supporting women – as one character stated in the production).
With more careful handling, the show could underscore the absurdity of how society perceives female killers – and the killings themselves– without trivialising the gravity of their stories or descending into shallow absurdity.
Structurally, the show falters in its engagement with the audience, particularly through the clapping-based verdict system. While inviting spectators to weigh in on whether the victims ‘had it coming’ could have been a provocative and playful way to engage with societally complicit gendered violence, the lack of a clear counter-option reduces the exercise to a one-note provocation. Without a space for dissent, the interaction feels forced, diminishing the moral complexity that the show otherwise gestures toward.
He Had It Coming strives to entertain while challenging our perceptions of women as perpetrators of violence, drawing attention to the double standards that persist in how female criminals are judged, both in courtrooms and in the public imagination. And while there are moments where the performers tap into the unsettling humanity of their characters – Bobbitt’s commentary on the disparity between societal reactions to male and female genital mutilation, for instance – these moments are too often undercut by the show’s uneven execution.
Read: Theatre review: Years Years Bears, Trades Hall
There’s a certain charm to a story that, even without fully landing, still captivates. He Had It Coming may not be flawless, but its potential is clear. With further development and a sharper focus, the show could evolve into something as compelling as it is engaging. And, despite its imperfections, this reviewer is still firmly in its corner.
He Had It Coming
The Provincial Hotel
Director: Jemimah Ashleigh
Cast: Jemimah Ashleigh, Amber Louka, Bridget Sweeney, Chelsea Heaney, Tina Manoussakis, Eleni Vettos
Tickets: $10-$25
He Had It Coming Will be performed until 20 October as part of Melbourne Fringe Festival.
