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.
“Olivier, Hall, and Nunn had it easy. Norris has it all to do.” As Rufus Norris comes under attack, Fergus Morgan explores the troublesome business of theatre and nation building.