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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.

"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.

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.

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 on her incomplete novel, this sparklingly witty play looks under the bonnet of Jane Austen and asks: what can characters do when their author abandons them?

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In an oak-panelled room in a rural Oxford gastropub, ten young undergraduates with cut-glass vowels and deep pockets are meeting, intent on restoring their right to rule - and on getting totally "chatueaued". Members of The Riot Club, an elite student dining society, the fraternity starts to fray when they discover they're a guinea-fowl short and the prostitute they've hired is suddenly banished. An apparent spoof on Oxford's notorious Bullingdon Club, whose past members include Boris Johnson, George Osborne and David Cameron, Posh is a satirical play about power, politics and privilege, and how these elements interact within British institutions. The play is published here as a Methuen Drama Student Edition with commentary and notes by Henry Bell. Posh premiered at the Royal Court Theatre, London, in 2010 and two years later opened in the West End. It was nominated for Best New Play at both the Evening Standard Awards and for the Theatregoers' Choice Awards. It was subsequently made into a film called The Riot Club (2014), starring Sam Claflin, Max Irons and Douglas Booth.

It's 1887 and Nancy Astley sits in the audience at her local music hall: she doesn't know it yet, but the next act on the bill will change her life. Tonight is the night she'll fall in love... with the thrill of the stage and with Kitty Butler, a girl who wears trousers. Giddy with desire and hungry for experience, Nancy follows Kitty to London where unimaginable adventures await. Sarah Waters' debut novel, Tipping the Velvet was highly acclaimed and was chosen by The New York Times and The Library Journal as one of the best books of 1998. Reviewers have offered the most praise for Tipping the Velvet's use of humour, adventure, and sexual explicitness. The novel was adapted into a somewhat controversial three-part series of the same name produced and broadcast by the BBC in 2002.

'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, 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

Acclaimed playwright Laura Wade explores the lives of the young, wealthy and privileged. Are the high-jinks of the tail-coated Bullingdon boys the last gasp of a dying breed? 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.

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.