LITMIR.BIZ

Dylan Singer needs to leave London. With his alcoholic ex-fiancée he heads to Central Asia, to research the book he's always dreamt of writing. But it's 2002, the height of the War on Terror, and Uzbekistan isn't the belly-dancing opium den they have been led to believe.From 11th Century Samarkand, through the Great Fire of London, to a disused weapons facility in the remotest place on earth, Salt Meets Wound is an epic odyssey spanning a thousand years.Tom Morton-Smith's debut is a magnificent delve into the jigsaw pieces of modern events and history. It opened at the Theatre503 in May 2007.

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‘I don’t think we’ll get to Mars … not really … not normalpeople. Scientists might … it’ll end up a scientific outpost likeAntarctica … but it won’t be for people like you and me.’Maggie has found a warm patch of ground on HorsellCommon. She believes something is buried in the dirt. Thisis the site of the Martian invasion in HG Wells’ The War ofthe Worlds and she sneaks out of the house in the dead ofnight and dances on the warm spot. Here she meets Behrooz,an amateur astronomer who spends his nights mapping thesurface of Mars.A stunning new play about fantasy and sexuality, and aboutthe blurry and indistinct lines between reality and desire.‘The writing has energy and breadth, and Morton-Smithjuggles ideas and emotions as he places political and personalnarratives side by side.’ Guardian on Salt Meets Wound ‘The dialogue crackles with vicious insight and humour.’ Time Out on Salt Meets Wound

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1939: Fascism spreads across Europe, Franco marches on Barcelona and two German chemists discover the processes of atomic fission. In Berkeley, California, theoretical physicists recognise the horrendous potential of this new science: a weapon that draws its power from the very building blocks of the universe. Sruggling to cast off his radical past and thrust into a position of power and authority, the ambitious and charismatic J Robert Oppenheimer races to win the ‘battle of the laboratories’ and create a weapon so devastating that it would bring about an end not just to the Second World War but to all war. Tom Morton-Smith’s new play takes us into the heart of the Manhattan Project, revealing the personal cost of making history.

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"You know when a song gets stuck in your head? Round and round … over and over. I've got that right now … only it's not a piece of music … it's not a tune … it's a phrase: home is where the heart is … home is where the heart is."A coastline erodes, a house falls into the sea. A mysterious brother and sister arrive looking for answers. Marnie clings to her camera, taking photographs of strangers and places. She has come to say goodbye to a life she never knew whilst her brother Linus is keen to make a fresh start. But when they find Simon and daughter Kelly, reeling in the wake of tragedy, all four lives are to become inextricably linked under the weight of the past.

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