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Emilie Collyer, who had an awesome piece in the latest Torpedo, has a creative, thoughtful and immediate kind of blog, between the cracks

- Literary Minded

A selection of reviews and reponses:



Collyer patterns wide-ranging dialogue – we get everything from frank sex confessions to stories of bodily betrayal, from surreal elegy to piteous intimations of domestic violence – into a kind of dream play that, underneath the surface comedy, offers a jarring lens onto gendered experience ... Prue Clark directs a strong ensemble performance. Emily Tomlins has radioactive presence as Cass ... An unsettling tragicomic vision from a talented local playwright, brought to life with buckets of grunt and style.

 Cameron Woodhead, The Sydney Morning Herald

Collyer’s writing arcs from brutally unromantic to gruffly ­poetic with some exquisitely confessional exchanges along the way. Jousting dialogue unravels into contemplative soliloquies ... the design sharply — and magically — counterpoints the narrative reality ... production elements resolve and coalesce into something remarkable, even ecstatic.

Chris Boyd, The Australian

Netball as Homeric battlefield: In Contest, now on at Darebin Arts Speakeasy, the world created by writer Emilie Collyer and director Prue Clark is remarkable: an epic battle worthy of Homer that spills out of, and perfectly captures, formalised physical contest.

Robert Reid, Witness Performance


Dream Home

Playwright Emilie Collyer's Dream Home is a funny, yet profoundly sad, new work. In some ways it feels like a spiritual inheritor to Patrick White's The Season at Sarsaparilla, sharply rendering contemporary anxieties; holding misanthropy and compassion in equipoise as it skewers, and finds unexpected poignancy in, our futile attempts to keep the Great Australian Emptiness at bay.

Cameron Woodhead, Sydney Morning Herald. Read full review here.


Each of these stories could be separate and yet it is the community they create – a community made up entirely of mismatched pieces of humanity – that creates the bizarre and intoxicating atmosphere of danger, regret and sex, cloaked in the smell of cooking meat. 

Fleur Kilpatrick, school for birds. Read full response here.


A theatrical experience defined by daring and innovation.

Patricia Di Risio, Stage Whispers. Read full review here.


Lulls us with David Williamson-esque cues for suburban life, backyards and BBQs, but then breaks out into something more surreal.


Thomas Jones, Crikey. Read full review here.


Explores the Australian dream-nightmare with compassion and humour.

Christine Young, Theatre Press. Read full review here.


Balancing brutal honesty with quick humour, this piece will make you squirm in your seat with both laughter and empathetic awkwardness.

Katherine L Scott, Popculture-y. Read full review here.


The one play I regret not writing about this year was Dream Home, Melbourne playwright Emilie Collyer's surreal, bitterly funny skewering of the Great Australian Dream of home ownership. Subsequent productions may find this near-faultless indie première a hard act to follow.

Ben Brooker, ABR Year in Review


The Good Girl

A tight, funny, and engaging sci-fi script with great performances from Larson and Perron. Poses some fascinating questions on both the age-old topic of prostitution and the nascent issues surrounding AI sentience and service. Expertly paced and performed.

Arthur Keng reviewing for Hollywood Fringe 2017


This is an astonishing script. My GOD. This is what we should be doing with the genre, this is what science fiction is supposed to be. An exploration of the most terrifying and astonishing and human aspects of who we are. This is why science fiction is so important.

Sean Williams, Producer of The Honeycomb Trilogy 

Ms. Collyer has written a ... provocative script ... a clever examination of sex, longing, memory, gender roles and violence.

The New York Times 

The Good Girl is a play for those who seek theater that’s a little bit weird and a lot a bit off. This is not your average dark comedy. Emilie Collyer has a vision of absurdity that allows her themes to echo.

Theater in the Now

A Startling and Original Futuristic View of Humanity

Broadway World

Emilie Collyer’s The Good Girl is the show that made me notice it. Ballardian. Sontagian. Like a post cyber punk Gertrude Stein.
Theatre Alive (read full review here)

Smart, slick and funny, The Good Girl reveals a future that asks a lot of questions and gives the present (and the people watching it) a lot to answer for. Clear, complex, crystallised story: big ideas, with an even bigger heart


Collyer’s witty two-hander merges black comedy with the absurd and the political, using sharp, well observed and funny dialogue.

Herald Sun (read full review here)

The acting is terrific, the concept intriguing ... strong performances and a crisp, fast-paced script 

Mortal Words Blog (read full review here)
Once Were Pirates

Once Were Pirates is a terrific piece of theatre that will leave you thinking about it long after you leave your seat.

Squirrel Comedy

The show is very entertaining, funny in its dark comedy ... leaves the audience with questions of humanity and the makeup of our divided society.

4 stars

Melbourne. Arts. Fashion.

A genuinely interesting take on modern life, and what it means for work, humanity and pirates



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

Maybe we're never together

Kate Hunter and Emilie Collyer, two lovely ‘generation X’ performers, bemuse and delight with this dry and earnest work about the making of performance ... some stunning characterisation ... Both women have the physical and vocal skills to fully engage an audience and appear to have developed a following - the work was very well received by a full house on opening night ... This is a clever and revitalizing work that is well worth seeing.

Susan Sandow, Stage Whispers, 2011. Read the full review here.

Your Looking Eyes

... if the Café Poet Program can produce works like Your Looking Eyes then I am definitely all for it ... Your Looking Eyes is a great introduction to Emilie Collyer’s work; 14 poems with strong visual aspects, the art space literally infused in the words.

Mark William Jackson, Verity La, 2011. Read the full review here.


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.

Edward Sobel

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