Created by Alinta McGrady and brought to life by Playlab Theatre, this immersive horror-comedy reminds us why we love live theatre: it’s raw, relevant, and relentlessly entertaining. There was a certain thrill in attending the world premiere of 'Eat Slay Zombie' at QPAC’s Cremorne Theatre, and this piece did not disappoint.
Set in a post-apocalyptic Brisbane where zombies have taken over and TikTok somehow reigns as the last form of communication, the story follows best mates Sharee (Shahnee Hunter) and Tash (Jade Lomas-Ronan) as they hunker down in a bowling alley, keeping score of their zombie takedowns and sharing survival tips with an invisible online audience. As these two Indigenous characters navigate their new world order that is literally and metaphorically “out to get them,” the result is a comedic, high-energy show that cleverly addresses social commentary on colonialism, trust, and survival.
The dynamics between characters were played brilliantly by Shahnee Hunter and Jade Lomas-Ronan. Hunter’s Sharee was strong but deeply wounded, giving us moments of grit and mistrust, while Lomas-Ronan’s Tash was her perfect counterbalance, optimistic and resourceful. Their fiery friendship was put to the test when a new survivor, “B” (Jalen Sutcliffe), entered the scene, offering more humour with his bizarre blend of bravado and buffoonery. Tash’s excitement at discovering someone else alive contrasted with Sharee’s more jaded distrust, providing an emotional push-and-pull that felt true to a strained friendship. Sutcliffe, as B, was hilarious but occasionally haunting, especially in a darkly confessional monologue where he revealed his backstory – a poignant moment that grounded the character’s vulnerability.
One of the best aspects of 'Eat Slay Zombie' was its sharp, socially aware humour. McGrady’s script layers the story with satirical references to colonisation, poking fun at survivalism with scenes like Sharee’s loving relationship with her makeshift flamethrower, “Doris.” We saw nods to Indigenous issues embedded into zombie tropes, as Sharee jokes, “I need a nap, a bag of chips, and my land back."
With direction and immersive design by Lisa Fa’alafi, the show’s technical elements were equally standout; a testament to Playlab Theatre’s trademark embrace of multimedia. From EDM beats and nostalgic tracks to Mad Max-inspired lighting, and projections of TikTok videos, every visual and sound choice supported the frantic atmosphere. Nevin Howell’s AV design seamlessly integrated social media and gaming with live action, elevating the production to cinematic levels. The floor lit up like bowling alley lanes while doubling as a hidden spot to store food and weapons. Watching Sharee and B's thrilling “Brunnings” battle sequence, choreographed with game-like graphics projected onto the stage walls and floor, was a highlight.
The thematic undertone—zombies as symbols of colonial occupation—was both pointed and powerful. At one point, Sharee’s fury at seeing her content plagiarised evoked a powerful commentary on the theft of Indigenous voices. The climax of the show was as intense as it was emotional, with Tash and Sharee’s friendship tested to the breaking point. The strobe lighting heightened the tension as the two faced an unimaginable decision: one of them, newly infected, had to be “taken out”. It was a moment of raw emotion, a cathartic release of the frustrations that had been simmering between them throughout the show. Yet the show left us on a note of hope — a reminder that, even in the darkest times, connection can still thrive.
'Eat Slay Zombie' was a celebration of survival, resilience, community, and reclaiming autonomy in a world that sought to take it away, cementing this work as an excellent addition to the Australian Indigenous theatre landscape.
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