Review: Elegy, Donmar Warehouse
While Alistair McDowall’s X furiously inspects what becomes of humanity when all one has ever known disappears at the Royal Court, Nick Payne dissects the inter...
Fergus Morgan
Review: Emilia Galotti, The Space
Lessing’s Emilia Galotti is a prime example of 'bürgerliches trauerspiel' apparently, an eighteenth century dramatic movement that was popular in England – wher...
Review: The Tempest, Rudolf Steiner House
It feels slightly sacrilegious, particularly three days before the 400th anniversary of Shakespeare's death (like you didn’t know that…), to strike a dissonant ...
Review: Reasons To Be Happy, Hampstead Theatre
Neil LaBute’s Reasons To Be Happy is the second play in a trilogy that began in 2008 with Reasons To Be Pretty, and will conclude in the near future with the s...
Review: All That Fall, Wilton’s Music Hall
Somewhat unexpectedly, Michael Billington did not opt for Samuel Beckett’s game-changing Waiting For Godot, or even Endgame or Happy Days, when selecting his 10...
Review: Whiskey Tango Foxtrot, Ye Olde Rose and Crowne Theatre
Per ardua ad astra. Through adversity to the stars. The RAF’s stirring motto could also serve as an epigram to define Rebecca Crookshank’s life, as indeed it is...
Fergus Morgan
Fergus is a recent graduate, splitting his nomadic life between a part-time football administration job in Oxford, his family home in sunny Suffolk, and the fringe theatres of London. Since finishing uni, he has devoted as much time as he possibly can to writing about the theatre, to the detriment of both social life and bank balance.