Emilie Collyer writes plays, performance words, fiction and poetry.
She lives in Melbourne, Australia.
between the cracks is a project that explores new ideas and short form writing.
If you have any questions at all or would like to know more about Emilie's other writing, please get in touch via the contact form.
Thanks for visiting.
Here are a few things others have said and written about Emilie's work:
Death by a thousand cuts
'Just read Emilie Collyer's piece on her father's long-term drinking, in the new @kyd_journal. Very moving.'
Literary Minded, 2011
I think this edition of Kill Your Darlings is just a bit special. Emilie Collyer's sincere look on her father's alcoholism a highlight.
Mark Welker, 2011
‘Ian Scott’s beautifully performed opening monologue contained many of the strengths evident in the rest of the show: a writing style merging the realistic, humorous and ‘bush’ poetic … The writing, largely by Emilie Collyer, with Jude Anderson, took us from the mundane to the metaphysical (to the metaphysical in the mundane and vice versa) and back again.’
Paul Monaghan, RealTime 71 Feb – Mar 2006
'Emilie Collyer’s Boxed is the most successful dramatic piece. While an old man listens to the footy, his dead wife’s aged voice is heard but a skilful dancer. (Mia Hollingworth) depicts her youthful self.'
Kate Herbert, The Herald Sun, 2005
‘The best written of these offerings is Ripe by Emilie Collyer … it uses the image of natural decay to deconstruct a relationship, and its past and present are in sad contrast.’
Helen Thompson, The Age, 2002
The Gas Connection
‘The Gas Connection is a collage of eccentric characters, imaginative leaps, poetic dialogue and fascinating diatribe.’
Kate Herbert, The Herald Sun, 2003
‘… you have filled these plays with playful dialogue, skillfully drawn imagery and nicely realized metaphors.’
Literary Manager, Steppenwolf Theatre Company, Chicago,. 2002
‘Great use of suspense, blurring of reality and fantasy as a literal and metaphoric exploration of theme. Multi-layered. Great use of interwoven dialogue. Well written, appealing characters, a nice sense of rhythm.’
Rachel Hennessy, Sydney Theatre Company, 2001
‘Collyer exhibits a strong dramatic awareness as she skillfully portrays the world of adolescent dreaming and inherent paradoxes. She does so through a spare, evocative use of language combined with strong poetic imagery and a flair for story telling.’
John Ellis, Lowdown, 1999