FUTURE PROJECTS

Death Roll

"The story begins with a pregnant woman sitting in a waiting room", Laura explains, "Soon, the woman is joined by a doctor, who tells her, 'all of you test results came back normal, so you can meet the crocodile this afternoon if it suits'. 
Having read every pamphlet, the woman waits for the doctor to finish explaining the multitude of clinical evidence that proves beyond a doubt the psychological and physical benefits of meeting the baby's crocodile as soon as possible. The woman nods her head, knowing that the crocodile in the next room will eventually kill her child, as the woman's crocodile will eventually kill her, but the woman and the doctor agree: it's better to know now, if you can know, before it's all over."

Thus begins Death Roll, a multi-disciplinary exploration into the relationship between death and time. Laura explains, "Time once curved softly, embracing both growth and decay, forever carved into the celestial cycle. Now it lies flat — a linear procession of moments, ending in a full stop. In Death Roll, we will continue to meet the child at various stages of her life. As the girl traverses the second, third and fourth quarters of the 21st Century, we watch knowing that she will eventually come face to face with her crocodile."

Plunder

Some things aren’t reversible. Once they’re done, they’re pretty hard to undo. Like birth. Like death. Like mining the deep-sea.

This is true: At the bottom of the Pacific Ocean, lay millions of poly-metallic nodules. Each nodule took millions of years to form, is about the size and shape of a potato, and contains certain metals that are classified as rare earth: metals like Cobalt, Nicol, Manganese, Copper, Zinc, Gold, and Silver.

Told in rhyming, rhythmic language, Plunder is a semi-true story about deep-sea mining. At its heart, this play is about a father, a daughter, and a global conundrum, set against the clock.

Laura developed Plunder when she was a part of Theatre Works’ She Writes collective.