Es Morgan (they/them) is a queer performance artist, curator, writer, and producer from Hull, East Yorkshire. Their practice draws from diverse interests in dance, drag, live art and writing. These performances manifest in many different contexts - for theatres, clubs and galleries.
Their new full-length work, 'Mum, I'm in the fourth dimension, see!, made in collaboration with dramaturg, Charlie Ashwell, premiered at The Yard Theatre Dec 18, and will be performed at The Place on 28th Feb 19. The work uses relentless, associative poetry and dance to expose the ambient anxieties and tensions of living in the UK in 2019. Their previous work, ‘DRAG ON’, has been performed at The Yard Theatre, La Fete du Slip (Lausanne, Switzerland), The Wardrobe Theatre, (Bristol) and Chisenhale Dance Space.
Es’ work draws cues from climate activism, queer culture, and far-left politics, and attempts to carve out spaces for radically reimagining the future. Es flaunts the contradictions of being an activist and artist whilst surviving states of eroded agency. Es collaborates closely with dance artist and dramaturg, Charlie Ashwell. Together they have organised workshops, discussions, performances and research events exploring gender, androgyny, magic, monstrousness and post work futures.
Es works part time for Chisenhale Dance Space as Marketing and Admin Coordinator, and as a producer and dramaturg with performance artist, Joseph Morgan Schofield.
They also co-curate 'move close' with Sara Sassanelli and Joseph Morgan Schofield, at VFD. It brings together dancing, experimental electronic music, and unannounced queer performances from artists working across dance and performance art.
Es works 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."