Meredith Oakes – författare

'Daylight people scare me...The confident ring of their footsteps...Their desire for everyone to be up and in harness...Day is always fresh and new...Exhausting...'A fifteen-year-old runaway is taken in by an older man. Both live at night: the man on his balcony, watching from afar, while the boy is drawn deeper into the city's underworld.Inspired by the photography of Nan Goldin, Shadowmouth is about people trying to connect in a landscape of disconnection, the power of desire, and being alone late at night. Combining hypnotic language with arresting dance theatre, this bold and thrillingly new show salutes the underbelly of urban life.Shadowmouth opened at the Sheffield Crucible on 1st June 2006, directed and choreographed by Dominic Leclerc.

Bill is sustained by his deep sense of a wider culture and an improving world. The only thing the human race needs to do is learn. When he meets a person who embodies this idea, he naturally likes them. Especially if his wife doesn't.Set at the end of the 1950s, Scenes from the Back of Beyond, explores the comfort, hopes and fragility of family life in a new Sydney suburb.Scenes from the Back of Beyond opened at the Royal Court Theatre in November 2006.

A vision of military conflict as a testing-ground for English values. Nightmarish contradictions face a group of soldiers in an isolated farmhouse on the edge of battle.Premiered at the Royal Court Theatre in 1997.Cast size: 6

Set in the offices of a magazine publishers, Meredith Oakes'' comedy of fragile values in the media will not restore your faith in human nature, but it is guaranteed to help you get on in publishing without really succeeding. First performed at the Royal Court Theatre, directed by Stephen Daldry.

Includes the plays The Neighbour, The Editing, Faith, Her Mother and Bartok, Shadowmouth, Glide and The Mind of the MeetingTwo highly regarded early plays, The Neighbour and The Editing Process (here presented in a revised version) present a study in contrasts: the first a battle of wills between two young men on a housing estate; the second an urbane but despairing comedy set in a publisher's offices.Faith provides a vision of military conflict as a testing ground for English values, while Her Mother and Bartok focuses on a husband and wife as they discuss their first meeting from the perspective of the less-than-inspiring present. In Shadowmouth a troubled teenager is thrown out by his single mother and is taken in by a middle-aged single man. Glide and The Mind of the Meeting are short radio plays.

Talks about people trying to connect in a landscape of disconnection, the power of desire, and being alone late at night. Combining hypnotic language with arresting dance theatre, this work salutes the underbelly of urban life.

Bill is sustained by his deep sense of a wider culture and an improving world. The only thing the human race needs to do is learn. When he meets a person who embodies this idea, he naturally likes them. Especially if his wife doesn't. Set at the end of the 1950s, "Scenes from the Back of Beyond" explores the comfort, hopes and fragility of family life in a new Sydney suburb. A production opens at the Royal Court Theatre, London in November 2006.

Contains all seven plays previously published by Oberon individually. Also contains a revised version of The Editing Process.

Mr Modernsky tells a story about two heavyweights of twentieth-century classical music: Igor Stravinsky and Arnold Schoenberg.It traces the gradual change there has been in the way these two great rivals are perceived, looks in their music for the reasons and reflects on the nature of modernity in art and the sometimes pernicious effects of ideology. Meredith Oakes explores the tension between futuristic and historical elements in the work of these parallel artists and asks: is modernity merely about technical innovation? Must progress always mean exclusion of the past?

Mr Modernsky tells a story about two heavyweights of twentieth-century classical music: Igor Stravinsky and Arnold Schoenberg.It traces the gradual change there has been in the way these two great rivals are perceived, looks in their music for the reasons and reflects on the nature of modernity in art and the sometimes pernicious effects of ideology. Meredith Oakes explores the tension between futuristic and historical elements in the work of these parallel artists and asks: is modernity merely about technical innovation? Must progress always mean exclusion of the past?