What happens when the writer loses the plot? Emma Watson is nineteen and new in town. She's been cut off by her rich aunt and dumped back in the family home. Emma and her sisters must marry, fast. If not, they face poverty, spinsterhood, or worse: an eternity with their boorish brother and his awful wife. Luckily there are plenty of potential suitors to dance with, from flirtatious Tom Musgrave to castle-owning Lord Osborne, who's as awkward as he is rich. So far so familiar. But there's a problem: Jane Austen didn't finish the story. Who will write Emma's happy ending now? Based...

Amy's found another body in a hotel bedroom. There'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.

'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 Introduction Colder Than Here: 'Laura Wade's play is a 90-minute masterpiece, a jewel, dark bu ttranslucent. 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,...

"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.

"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.