618 stories by "Fergus Morgan"
The troubled past and traumatised future of Northern Ireland come face to face in David Ireland’s ferociously funny 2010 two-hander Everything Between
Combining the creeping high school horror of Jay Asher’s 13 Reasons Why, the stigma-skewering impishness of Bruce Norris’ Clybourne Park, and a delectably bleak, Fargo-e…
Barely a month after the theatrical earthquake of Roman Tragedies, Ivo van Hove returns to the Barbican with Obsession, an adaptation of
What I'm suppose to think vs What I actually think: Fergus Morgan reviews the world premiere of Ivo van Hove's Obsession.
The post Review: Obsession at the Barbican appeared first on Exeunt…
It’s Moliere month in the West End. While David Tennant stars in Patrick Marber’s 21st Century update of Don Juan, and Lee Mack and
Home Truths is Cardboard Citizens' attempt to tell the history of British housing in nine new short plays. Cycle One " of
The third fruit of the opinion-dividing partnership between the English National Opera and production company GradeLinnit, Lonny Price’s semi-staged revival of Rodgers
Albert Camus’ 1947 novel The Plague, the story of a city torn apart by infectious fever, is a bold allegory on the Nazi occupation. In Neil Bartlett’s compellin…
It’s Edward Albee season in the West End at the moment. While Who’s Afraid Of Virginia Woolf? drags audiences into marital hell six nights a
Question: what do Harold Pinter, Ruth Wilson, Sandi Toksvig and Michael Billington have in common? Answer: they all, at one point or
First a novel in 1932, then a Hollywood film the subsequent year, then a smash-hit Broadway musical in 1980, 42nd Street’s route from page to
The Who’s Tommy " the original rock opera " is a sprawling, kaleidoscopic storytelling experience. So it makes sense for Kerry Michael’s staging " a
Glenn Waldron’s new play, Natives, interleaves the stories of three teenagers on their 14th birthday, tracking their movements as they slowly and
Barney Norris’ new play Echo’s End, like so much First World War drama before it, is infused with an august Rupert Brooke
Caryl Churchill’s The Skriker is a tough nut. Dense, otherworldly and frequently incomprehensible, it deals with an ancient, female spirit " the Skriker
Is Patrick Marber the busiest man in theatre at the moment? His National Theatre adaptation of Hedda Gabler has just closed (but will reappear
This kaleidoscopic new three-hander by poet and playwright Sabrina Mahfouz and poet Hollie McNish, tells the story of Mickey and Keeley, two female footballers and
Like Sarah Kane, Nina Segal has the ability to see the tree that grows from the seed, the civil war from the
An American in Paris in London. That’s the situation at the Dominion Theatre for the time being, as Christopher Wheeldon’s acclaimed musical, having played
It’s a filthy business, building up a family firm from scratch in a foreign country. Spanning decades and delving deep into the
There’s timely productions, and then there’s Abbey Wright’s colour-blind adaptation of John Steinbeck’s The Grapes of Wrath. A looming technological threat, hundreds
“Free” appears to be the operative word in Sean Foley and Phil Porter’s “free adaptation” of Moliere’s classic farce The Miser. After brief stint…
Edward Albee, who died in September last year, was an undisputed giant of the American stage. A hugely influential dramatist who penned
Tom Stoppard’s Rosencrantz and Guildenstern Are Dead is the ultimate fringe success story: a student production of an unknown play, abused by all but
Marx said that history repeats itself, first as tragedy, second as farce. The Peasants’ Revolt of 1381, a popular uprising fuelled by
