My Plays

Sex Shop at the End of the World is set in Britain following an environmental catastrophe. Civilisation has collapsed and the richest 1% have begun rebuilding a society underground. Inexplicably, one of the only remaining above-ground buildings is a boutique Sex Shop off the side of the M6, run by the elusive Ivory. Harry, one of the 1%, Louis, a trained assassin and Anita, the ex-leader of the environmental revolutionaries, end up trapped in the shop during an acid rainstorm. Whilst the men grapple unflatteringly with their inner turmoil, Anita and Ivory are drawn dangerously close together as they explore each other’s pasts.

Sex Shop at the End of the World uses Greek mythology and poetry to explore the existential question: is saving the world more important than having one last moment of joy?

I wrote this during lockdown and I'm currently exploring avenues to get it on stage. I was shortlisted for the Royal Court Writers' Group in 2021 after submitting an extract of it.

Lighthouse tells the story of four women trapped during an apocalyptic flood. Lamorna’s trauma leaves her only able to speak in crossword clues. Her girlfriend, Merryn, is furious with the world, whilst Morveren, the eldest, has reached a peaceful disillusionment with it. Tegen, who arrives last, exhibits her trauma in a desperate need for sexual intimacy. In the world of Lighthouse, hate-politics have been taken to their absurd extremes so that the characters’ superficial hates are now an integral part of their identity. Over the course of the play, the women battle through their relationships with each other and the ending world, and debate whether to let an adrift sailor man into their little sanctuary. All four women return to the comforting, British triviality of discussing the weather.

I wrote Lighthouse for my final university assessment and it received a first class grade. I was shortlisted for the Royal Court Writers' Group in 2020 after submitting an extract of this play.

Erin’s script was hugely ambitious, both formally and thematically – combining traditional folk
tales with verse forms, magic realism with environmental concerns, feminist rage with dry humour, it was a
truly unique piece of theatre, and I was once again blown away by her immense talent in managing to pull
the whole thing off.

Ruth Gilligan, writing in praise of Lighthouse in a support letter for my Arts Council application

Growing Pain is a monologue which explores female strength, safety and identity through Thai boxing. The fighter grapples with her relationship with her body, her new combat sport and the threat of assault. She uses her newfound power to take ownership of her pain and emerges bloody and triumphant.

Growing Pain was first performed through University of Birmingham's Live Art Society, and I later performed it at Midlands Art Centre as part of Windswept Workshops' Between Bus Stops publication launch. It is also published in Windswept Workshops' Between Bus Stops anthology.

Inspired by the tragically short life of Christopher Mccandless, Alaskan Odyssey invites the audience to share his love for the endangered natural world. Eighty-one year old Ron Franz tells the story of Chris travelling around 1990s America. After growing up in a world that measures happiness in material goods, Chris seeks to escape the excess of the capitalist world and retreats into the wild.

Ron took Chris’ philosophy so much to heart that, once Chris left for Alaska, he put his belongings into storage and moved out to live in a tent in the wild. In Alaskan Odyssey, Ron tells Chris’ story to his son-in-law, Charlie, from the comfort of his new outdoor home.

I directed Alaskan Odyssey for 3Bugs Theatre at the University of Birmingham, taking stylistic inspiration from Kneehigh Theatre. Our team used shadow puppetry, original music and poetry to bring the piece to life.