Orphaned by poverty, a baby is bought by a first world businessman for his barren wife. Eighteen years later she has become her father’s creature in a society where the body is a territory and morality a commodity. Where must she go to find her sense of self?

The rise of individualism and its impact on the domestic environment was first explored by Rowell in Bearhunt in 2002. CAN'T LEAVE TOMORROW ALONE, the story of one family, is a microcosm of the tyrannies of both physical and ethical colonisation.

Says Rowell: “Early in 2003, on observing the muted response to Australia’s involvement in the Iraq War, the hoist wanted to make a work that addressed the concept of moral ownership.” Inspired by writers such as Michel Houellebecq, George Bataille and the Marquis de Sade as well as numerous stories in the media, Rowell uses the dynamics of sexual power as a metaphor for tyranny.

CAN'T LEAVE TOMORROW ALONE does not shy away from theatricality in extending the domestic into an epic political and emotional realm. Throughout, the audience is jolted from scenes of familial banality into a heightened, sensual world.