Split Ends review | The Motley Bauhaus

Autobiographical theatre walks a tightrope. When a story is this intimate, this traumatic, the danger is never just about being vulnerable on stage; it is whether the work can shape lived pain into something theatrically legible without flattening it, sensationalising it, or asking the audience for sympathy. The challenge is not about being honest, but about keeping control. To revisit periods of OCD, coercion, compulsion, and abuse of power, requires a level of precision that goes far beyond confession. It demands structure, restraint, and a clear artistic vision. Split Ends understands that risk from the outset, and rather than retreating from it, Claudia Shnier meets it head-on.

Split Ends unfolds across two intertwined narratives: Shnier’s private, painfully obsessive relationship with her hair, and the surreal relationship with her Vacuum boyfriend, who continues to suck the life out of her. Through puppetry, physical theatre, and sharp, sometimes jarring musical numbers, these stories become extremely vivid without losing their depth and resonance.

At several points, Shnier interacts with pre-recorded projections of herself, speaking and moving in perfect timing, and at times with multiple versions of herself. These instances offer a terrifying glimpse into her psyche, her frame of mind, and the lasting effect of her struggles. The camera work - slowly zooming in on her face - forces her and the audience to confront what she has endured, making it feel visceral and shared, as if we are experiencing it alongside her.

The dance sequences are captivating, a striking mix of fluidity and emotional expression. Shnier moves energetically, displaying her thoughts and feelings through her body as much as her words. By contrast, some segments, like the pre-recorded footage filmed while the Vacuum is in the same building that she is rehearsing in, feel slightly detached from the overall in-the-moment momentum. While technically competent, they lack the raw intensity that makes the rest of the show so gripping, and it doesn’t lose anything when the focus returns fully to Shnier and her immersive, arresting presence.

Split Ends is a remarkable example of autobiographical theatre done with control and courage. Shnier transforms her deeply personal experiences into a performance that is unsettling and compelling, balancing authenticity with careful craft. The show demonstrates the power of fearless openness and inventive storytelling, proving that trauma can be rendered with clarity, impact, and artistic authority.

SHOW DETAILS

Venue: The Motley Bauhaus, 118 Elgin St, Carlton
Season: until 10 January | 7pm

Duration: 60 minutes
Tickets: $30 Full | $25 Conc

Bookings: The Motley Bauhaus