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‘If one of the problems facing new playwrights is the expectation that each of their plays should be similar in style, Wade…proved that you could radically change both form and content… Not every writer delivers on their early promise. As this collection clearly shows, Wade certainly has.’ Aleks Sierz, from his IntroductionCOLDER THAN HERE‘Laura Wade’s play is a 90-minute masterpiece, a jewel, dark but translucent. It is a play of love, death and grief: the grief that is hardest to bear, because it begins before the loved one dies.’ Sunday Times BREATHING CORPSES‘The tension, the emotions and the sense of absurdity and fear are brilliantly handled… A terrifying tour de force.’ Sunday Times OTHER HANDS‘This is an extraordinary feat – a vicious satire with a heart of gold – wrought with peculiar subtlety and intelligence.’ The Spectator

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The White Rabbit is late for the Duchess. The Cheshire Cat won’t stop grinning. And the Hatter is, well, mad. In the middle of it all is Alice, a young girl with a vivid imagination and a family life that’s less than perfect.In this new adaptation by renowned playwright and Sheffield native, Laura Wade, you can follow Alice as she escapes her bedroom to find adventure in a topsy-turvy world. Based on Lewis Carroll’s classic tale, Wade’s adaptation breathes fresh life into a much-loved story about rabbit holes, pocket watches and talking caterpillars.‘Fabulous fun, as Laura Wade grabs hold of Lewis Carroll's classic and runs with it. Furiously inventive and wonderfully designed. Lyndsey Turner's production is as mad as a bag of trifle’ – The Critical List - Sunday Times Culture Magazine ‘In Laura Wade's engaging new version of Lewis Carrol's Alice in Wonderland a classic is given a wonderfully ingenious twist.’ – Lynne Walker, The Independent[i] ‘Laura Wade grabs hold of Lewis Carrol's classic and runs in this furiously inventive adaptation’ – David Jays, [i]Sunday Times

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Amy's found another body in a hotel bedroomThere's a funny smell coming from one of Jim's storage units.And Kate's losing it after spending all day with the police. There's no going back after what they've seen. Breathing Corpses was first performed at the Royal Court Jerwood Theatre Upstairs in February 2005.'The tension, the emotions and the sense of absurdity and fear are brilliantly handled… A terrifying tour de force.' – Sunday Times '[a] powerful new play… The clash between the tone of sadness and the tricksiness of the play’s structure gives the evening its undeniable edge.' – The Stage 'a highly intriguing new play' – The Independent

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I’ve got a new law for you mate, it’s called survival of the fittest, it’s called fuck you we’re the Riot Club.In an oak-panelled room in Oxford, ten young bloods with cut-glass vowels and deep pockets are meeting, intent on restoring their right to rule. Members of an elite student dining society, the boys are bunkering down for a wild night of debauchery, decadence and bloody good wine. But this isn’t the last huzzah: they’re planning a takeover. Welcome to the Riot Club.Laura Wade's depiction of wealth and privilege is savagely funny – Time Out London Disgracefully entertaining… there is much fun to be had at the expense of these posh characters as they bicker, get wasted and lament the awfulness of the working classes. **** – The Telegraph Wade deftly skewers the sense of entitlement that swirls like a sickly perfume around a certain kind of upper-class thug. Her characters seem to have everything, yet whinge relentlessly… Posh combines twisted humour with ripe excess and a cruelly precise topicality. For many it will leave a bitter taste in the mouth. But, as the characters say with lip-smacking approval, it’s savage. **** – London Evening Standard Wade has grasped a fundamental truth about British life… Her chief target is not just privileged toffs but the cosy network that really runs Britain… But, while Wade's play reminds us that many of the upper-class continue to enjoy the sound of broken glass, its success lies in harpooning the way power operates through a succession of nods and winks in our supposedly open, egalitarian society. **** – The Guardian

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‘I walked in and she's sat in the coffin. In the middle of the living-room floor and she's – she's watching telly and laughing’Nobody can ignore the fact that Myra is dying but in the meantime life goes on. There are boilers to be fixed, cats to be fed and the perfect funeral to be planned. As a mother researches burial spots and bio-degradable coffins, her family are finally forced to communicate with her, and each other, as they face up to an unpredictable future. Laura Wade's beautifully poised family drama was first performed at Soho Theatre, London.‘Laura Wade’s play is a 90-minute masterpiece, a jewel, dark but translucent. It is a play of love, death and grief: the grief that is hardest to bear, because it begins before the loved one dies.’ – John Peter, Sunday Times * * * * *‘Wade’s original and beautifully observed play balances raw emotion with a deliciously delicate black humour.’ – Aleks Sierz, The Stage

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‘I don’t tingle anymore. I used to. To tingle. Everything I feel, feels like it’s in my hands. Rest of me’s totally….numb.’In a world of systematic, high-speed technology, some people expect to live life as efficiently as the machines they depend on… and when a machine breaks down, there is usually someone with the skills to fix it. But in an age where things that don't work and can't be mended are thrown away, what do we do with something as human and messy as love?Laura Wade’s plays, Colder Than Here and Breathing Corpses played simultaneously at Soho Theatre and the Royal Court Theatre respectively, and are both published by Oberon Books. Breathing Corpses earned her the Pearson Best Play Award 2005 and she was joint winner of the 2005 George Devine Award.

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