Pamela works as a writer for performance, director and dramaturg in theatre, dance, opera, film, the visual arts and museum design.

Her work includes: The Misfortune of the English for the Orange Tree Theatre; Duck Rabbit, a digital work about her mixed-race heritage for Chinese Arts Now; Schauinsland, a musikteater piece for Theater Freiberg; We Are In Time, a chamber opera about a heart transplant; Them!, a large-scale performance for the National Theatre of Scotland about identity and change with a cast including a colony of 150,000 leaf-cutter ants; The Male Queen, an adaptation of a seventeenth century Chinese opera by Wang Jide for the RSC/Royal Lyceum; LINES, a play about identity and British Army recruits for The Yard Theatre; What We know, Traverse Theatre; Skåne first produced at Hampstead Theatre and winner of the New Writing Commission at the Berliner Festspiele Stückemarkt in 2012.

She has been collaborating with director/designer Stewart Laing since 2004. Her plays for his company Untitled Projects include: The End of Eddy (Unicorn Theatre London/BAM/Melbourne Festival); Paul Bright’s Confessions of a Justified Sinner (National Theatre of Scotland/Edinburgh International Festival); Slope; and An Argument About Sex (After Marivaux’s La dispute).

Between 2010 and 2020, she was employed by the Stockholm-based artist subject Goldin+Senneby to write about about high frequency trading, credit default swaps, land ownership, and pharmaceuticals.

She has also made work for the Royal Court Theatre, Scottish Dance Theatre, London International Festival of Theatre, and the Young Vic.

As dramaturg she has worked with Graeae Theatre, The Pappy Show, Vanishing Point Theatre (Interiors, Saturday Night, and Tomorrow), DAU Films, Holly Blakey Dance, National Theatre of Scotland, Candoco, and design company studioRiley.

She is currently adapting HG Wells’ The Invisible Man for the Malthouse Theatre in Melbourne.