Liz Newell Liz Newell i(12585253 works by)
Gender: Female
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Works By

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1 Alone Outside Liz Newell , 2018 single work drama

'Having just broken up with her long-time boyfriend, Daphne reluctantly returns from The Big Smoke to the tiny country town she grew up in to visit her ailing grandmother.

'Experiencing run-ins with a revolving door of people she hasn’t seen in years, Daphne eventually reconnects with former best-mate Aidan, sharing a long-held secret that finally brings her the sense of clarity she hadn’t realised she’d been missing.

'A meditation on the concept of 'home' that examines the places and people that continually call us back – whether we like it or not – Alone Outside is a moving and ultimately uplifting look at the fraught paths we walk towards self-acceptance.'

Source: Melbourne Fringe.

1 Toast Liz Newell , 2017 single work drama

'The childhood home is up for sale. Three sisters are left adrift and grappling with the sudden loss of their mother, and with each other.

'Candice just wants to pack up a lifetime of memories without getting sentimental, while Alex – newly sober and dreading a relapse – sneaks old bits of Tupperware into her handbag. Their adopted little sister, Sydney, is doing pretty well, when she’s not trying to tell her best friend she’s in love with her. And the rookie real estate agent is only there to pay off her credit cards.'

Source: Black Swan Theatre Company.

1 Daphne i "Here is a small house with a beautiful garden and a little hatchback parked in the driveway.", Liz Newell , 2017 single work poetry
— Appears in: Westerly , no. 4 2017; (p. 103-110)
1 An Extract from ‘Alone Outside’ Liz Newell , 2017 sequence poetry
— Appears in: Westerly , no. 4 2017; (p. 103-110)
1 On Writing for the Theatre Liz Newell , 2017 single work essay
— Appears in: Westerly , no. 4 2017; (p. 100-102)

'As far as auspicious beginnings go, I can’t imagine ‘I fell into it, completely by accident’ rates particularly high. But there it is, for me, at least. What it lacks in glamour it makes up for in truth. Writing—and writing for theatre, no less—isn’t exactly the kind of creative pursuit that really kicks off the day some hotshot agent spies a pretty face in a crowded street and waves his business card under their nose, so I wouldn’t know where to begin if I chose to embellish.' (Introduction)

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