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.
“Amongst the trauma and suffering lurks an awful lot of humour.” Fergus Morgan reviews the transfer of Stuart Slade’s play about terrorism to the Trafalgar Studios.
And that’s the joke. That’s the only joke: Fergus Morgan is emphatically unimpressed with a revival of Moss Hart and George S. Kaufman’s hollywood satire.
The brash hollowness of hope: Fergus Morgan reviews the London transfer of Buried Child.
It should be gripping. But it’s not: Fergus Morgan reviews I Call My Brothers at the Gate Theatre.
Meanders to a contrived platitude: Fergus Morgan reviews Peter Quilter’s new comedy.
“Updated for the Netflix generation”: Fergus Morgan goes against the critical grain and offers a different perspective on Sam Shepard’s Fool For Love.
How can anyone flawlessly jazz-up an issue? Fergus Morgan reviews Bryony Kimmings’ new musical about cancer. Warning: includes GBBO spoilers…
Domestic drama written on the largest canvas: Fergus Morgan reviews the world premiere of Ella Hickson’s Oil.
#firstworldproblems: Fergus Morgan reviews a new musical about just your average couple.
Porcelain statues and shady antique dealers: Fergus Morgan reviews Shôn Dale-Jones’s one-man show at the Edinburgh Fringe.
Portraits of resilience: Fergus Morgan reviews Kai Fischer’s show at the Assembly Hall.
Adolescence, adventure and yodelling: Fergus Morgan reviews the first musical to be staged at Park90.