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.
‘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
Carrying on a new series, our editor Lisa Martland has picked out her Top Picks from the last week including Anne Cox’s thoughts on Present Laughter, while Aleks Sierz reports from Bitter Wheat.
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.
In Dougie Blaxland’s fascinating new play, The Long Walk Back, currently on a national tour, we see former England cricket international Chris Lewis (Martin Edwards) contemplating his life from his prison cell alongside his cellmate/angel/devil on his shoulder (Scott Bayliss).
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.
My Theatre Mates’ very own Shane Morgan will direct RoughHouse Theatre’s latest production, Dougie Blaxland’s The Long Walk Back, the story of England cricketing all-rounder Chris Lewis’ catastrophic fall from grace. The play will tour nationally in spring 2019.
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.
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