Here are Shane Morgan’s picks of how 2020 in theatre has continued to do what it does best: transporting us by engaging the heart, mind and soul.
Mates blogger: Shane Morgan
Shane Morgan is one of over 45 theatre bloggers who are part of the MyTheatreMates collective. This page features Shane's posts on MyTheatreMates. Take a look at our full list of theatre bloggers and our aggregated feed of all our Mates' posts. We’re always looking for new theatre bloggers. Could that be you? Learn about how to join us.
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‘If a theatrical phoenix is to rise post-pandemic, it could do a lot worse than to look and sound as resplendent as this.’
To take a play as epic in scale as Coriolanus and find a natural home within the intimacy of London’s Donmar Warehouse takes a skill and lightness of touch that is not only rare but all so often missed.
‘There is no doubt that this is the first of many events from the Burn Bright family. A family that has staked it very existence on the fact that we need a seismic shift in the way we create, present and support theatre.’
‘Theatre is everywhere. It is regional. It is rural. It is poor. Now it is in your front room, it can be from anywhere.’
The Son is akin to a beautifully composed piece of music. A perfect balance of light and shade with an inevitable surge to a heart thumping climax.
Sweet Like Chocolate Boy is a majestic cultural odyssey that melds genres, storytelling techniques and timelines into a high octane, often incredibly moving, very funny and sharply observed 120 minutes of theatre
The Hunt is not easy viewing. It will certainly divide opinion and it is loud and clear in its desire to provoke discussion. It is also an intelligently written adaptation steeped in theatricality whilst providing a nod to its source material.
dressed. is an unflinching, deeply personal, deeply political insight into the horror of assault, both physical and psychological.
Barber Shop Chronicles is a bold and inexorable march towards changing the way we share stories, shifting the mainstream narrative and dealing with both joy and pain in equal measure.
A finely tuned, rapid fire and utterly compelling 100 minutes of theatre. The Cane challenges, provokes and entertains
In my round-up of theatre in 2017, I warned 2018 that it had “big shoes to fill”. Not only did 2018 not need the door to be opened, but it also didn’t even need anyone to hold its coat.
Chasing Bono is inspiring, beautifully told and full of heart. Inspired programming and highly recommended.
Lisa Carroll’s Papatango shortlisted debut Cuckoo has the subject of identity stamped on its DNA. It raises questions about the value of where you are from and what does moving away from there do to you.
Whilst Shakespeare at the Tobacco Factory’s latest offering yields many strong and a couple of exceptional performances, the ambition and scale never really extends beyond the four pillars of the theatre.
Touching The Void is a theatrical triumph. David Greig, Tom Morris and the team have created a piece of theatre that excels beyond mere adaptation.
The Jungle is theatre at its best: transformative and wholly enveloping. It sucker punches you whilst it is happening and it blooms long after you have left the makeshift Jungle. I was a late arrival. Don’t miss the boat. It’s beautiful.
For a feelgood, heart-racing, toe-tapping story to feel so joyless, despite the best efforts of the cast, seems like a huge wasted opportunity. Reach for the DVD rather than your dancing shoes.
This is an extraordinary theatrical experience given in kindness, strength and bucket loads of humanity that provides a platform for change. Take it up. We need Notes From The Field now more than ever.
In the hands of Sally Cookson, A Monster Calls is an instant classic: a show that transforms both hearts and minds through the magic of authentic storytelling. Go with someone and join the masses who rose to their feet and hugged those near them.
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