Es Morgan is a queer artist from Bridlington, East Yorkshire. Their solo practice draws from diverse interests in contemporary dance, drag, live art and writing. These performances manifest in many different contexts - for theatres, clubs, galleries and cabaret stages.
Their current work is concerned with rage, queer futurity, and transformation. They are currently working on a new solo": 'Mum, I'm in the fourth dimension, see!', which will premiere at The Yard Theatre, as part of NEXT festival in December 2019.
Their most recent full length theatre work, ‘DRAG ON’, merges their fascinations with fantasy and drag culture to explore ideas around queer identity, hybridity and monstrosity. It has been performed at The Yard Theatre, La Fete du Slip (Lausanne, Switzerland), The Wardrobe Theatre, (Bristol) and Chisenhale Dance Space. It was created with support from Arts Council England, The Yard, The Marlborough Theatre, Chisenhale Dance Space, and The Place.
As part of their choreographic practice, Es works collaboratively with Charlie Ashwell (dramaturg and producer). Together they have organised workshops, discussions, performances and research events connected to overlapping themes within their work, such as gender, androgyny, magic, monstrousness and post work futures.
Es also co-curates 'move close' with Sara Sassanelli and Joseph Morgan Schofield, at VFD. move close attempts to carve out a new space for experimental performance within queer nightlife, outside of the form and format of cabaret. move close is a night for/by/with queer people and we have a commitment to supporting marginalised artists.
They also work freelance as a dancer & performer, and have worked with artists such as Taylor Mac, Rocio Boliver, Eleanor Sikorski, Fernanda Munoz-Newsome, Lola Maury, Eva Recacha, New Art Club, Janine Harrington and Seke Chimutengwende.
"Morgan handles speech, poetry, mime, movement and both subtle and anarchic humour
without a flicker of inhibition... I was reminded of the late Nigel Charnock’s work
(most recently evoked by Wendy Houstoun), which is high praise."