A sledgehammer made of metaphor: Fergus Morgan reviews Rory Mullarkey allegorical play about the history of Britain.
Britain’s best-selling fish-and-chip-wrapper: Fergus Morgan reviews James Graham’s new play about the Sun.
A classic case of biting off more than one can chew: Fergus Morgan responds to the Time Out audience reviews of DC Moore’s Common.
“One of the hardest things for boys to learn is that a teacher is human…” Fergus Morgan reviews Matt Parvin’s play about the class clown and his former teacher.
Issue-driven theatre: Fergus Morgan reviews Charlotte Josephine’s play about internet porn.
The baby and the bath water and the whole, cast-iron bath: Fergus Morgan reviews a slightly overwrought production of Mark Weinman’s debut play.
What I’m suppose to think vs What I actually think: Fergus Morgan reviews the world premiere of Ivo van Hove’s Obsession.
Old habits die hard: Fergus Morgan reviews Cressida Carrré’s all-female production of Posh.
Fergus Morgan attends Paul Mason’s attempt to explain the state of the world in 2011-2017, but leaves with as many questions as answers.
Shakespeare done like it was before the Boer War: Fergus Morgan reviews Iqbal Khan’s Antony and Cleopatra.
Meh. Fergus Morgan is unimpressed by the RSC’s new production of Julius Caesar.
Strips the drama down to its essence: Fergus Morgan reviews Imelda Staunton and Conleth Hill in Edward Albee’s portrait of marital dysfunctionality.
A compelling political debate about the heart and soul of the British left: Fergus Morgan reviews the world premiere of Steve Waters’ new play about the Limehouse declaration.
Fergus Morgan finds “frankness and honesty” in Paula Varjack’s show about trying to make a living as an artist.
It’s not enjoyable theatre… but it is important theatre: Fergus Morgan reviews Crew For Calais’ double-bill at Vault festival.