Haylee first cut her teeth in theatre through her visceral and transcendent performance as an extra with two lines in the Pied Piper of Hamlin at the ripe old age of ten.

This taste of the limelight snowballed into a fully-fledged addiction, including (but not limited to) the role of an inanimate object in Fitter Patter, swearing an awful lot in comedy revues KaPow! and Spin-Off respectively (no acting required), as well as directing and performing in The Vagina Monologues.

She went on to write and direct Forwards in Flats for her Honours degree in feminist theatre; and then lived out her twenty-something dreams of writing, performing, recording and touring internationally with Melbourne-based punk rock band Johnny Uppercut.

2016’s inception of theatre company Red Brassiere and their maiden voyage First Wives’ Pub marked a return to writing, directing and performing – the inaugural season a sell-out run.

Capping off 2018 with her second original show Resting Switch Face, and 2019 with the well-received second season of First Wives’ Pub at the iconic Chapel Off Chapel, 2022 saw her brave the lonely stage of a stand up comic. Her debut at the Melbourne International Comedy Festival, entitled Interlopia, was an autobiographical shambles about belonging nowhere but showing up everywhere.

Clearly she belongs more than she realised, as she returned in 2023 with But Daddy I Love Him, a hilarious and unadulterated retelling of the tragic and relatable predicament of a first teenage celebrity crush.

Her third installment People Please-y Dutiful Covergirl flows deftly into womanhood, and the common thread therein of consistently putting others before oneself – often detrimentally so.
Anyway. Yeah. Good thanks…