THE EARTHWORKS

“Morton-Smith is best known for the epic Oppenheimer, but this small, often funny play focusing on two fragile people rubbing up against each other at a moment of change has its own quiet heroism. What appears to be a romantic comedy turns into something more unsettling ... raising questions about the limits of knowledge and our capacity to face up to the future. Oh, and who wouldn’t love a play that uses a custard fight to explain mass?”  - Lyn Gardner, Guardian

“As with his earlier bioplay [Oppenheimer], Morton-Smith blends accessible scientific explanation with sensitive human insight ... stimulating. ★★★★” - Ian Shuttleworth, Financial Times

“This is small-scale and delicate ... a late-night encounter between a journalist and a scientist in a Geneva hotel on the eve of the activation of the Large Hadron Collider. All the grandest ideas in the world are about [to] come into play there, but Morton-Smith reminds us that it’s the most intimate human connections that have the greatest impact. ★★★★” - Fiona Mountford, Evening Standard

 

OPPENHEIMER

Nominee - Best New Play, WhatsOnStage Awards 2015 / #3 - Time Out London Top 15 Plays of 2015 / #7 - Guardian Top Ten Plays 2015 / Daily Telegraph Best Plays of 2015

““Oppenheimer’s stature is not in question, but do we have a playwright big enough to depict him?” That was the question posed by critic Eric Bentley in 1969. The answer has been found in the shape of Tom Morton-Smith, a 34-year-old dramatist with a handful of fringe credits, who has come up with this massively impressive three-hour play for the RSC: one that shows the father of the atomic bomb and leader of America’s Manhattan project to be a genuinely tragic hero. ★★★★★” - Michael Billington, Guardian

“Time and again in this triumphantly assured drama about the American physicist, J. Robert Oppenheimer, and his supervision of the wartime race to build the atomic bomb, there are phrases that leap out and draw you into the wonder, and the horror, of mankind’s journey to a brave new world of potential total annihilation. This breakthrough for playwright Tom Morton-Smith is a sure-fire hit for the RSC . . . the play’s nucleus is packed with fascinating nuggets and bristling with ideas. ★★★★★” - Dominic Cavendish, Daily Telegraph

“An inspired piece of commissioning by the RSC, this epic biodrama - now in the West End - seems astonishingly assured . . . Morton-Smith’s portrait of the man and his ethical choices proves fascinatingly complex, embracing the global politics of the mid-20th century . . . the best scientific biodrama since Michael Frayn’s Copenhagen. ★★★★★” - Kate Basset, The Times

“A blast from start to finish . . . Tom Morton-Smith’s epic new play . . . ambitious in the very best way . . . it really delivers its payload in its final phase, as Oppenheimer finally rejects his humanity in favour of doing something truly inhuman to the people of Hiroshima and Nagasaki. If ‘Oppenheimer’ humanises the story of the bomb, then it also humanises those it killed, clawing them back from statistic to tragedy. ★★★★★” - Andrzej Lukowski, Time Out London

 

IN DOGGERLAND

“Morton-Smith’s script is both poetic and philosophical, a thoughtful meditation on the impact of loss . . . there are some really heart-wrenching moments . . . a touching and funny play that explores the lives of four people brought together by tragedy and hope. ★★★★” - Whats On Stage

“Morton-Smith ignores the more obvious narrative paths to focus instead on a subtler and more emotionally resonant tale highlighting how people connect with and impact on each other . . . Morton-Smith’s uncanny ear for dialogue, perfectly capturing the randomness of everyday speech as well as the way people reveal information about themselves, and a touching, unshowy denouement demonstrate that [he is] a writer in ascendance.” - The Stage

 

EVERYDAY MAPS FOR EVERYDAY USE

“. . . an evening of ebullience with moments of wonder . . . it contains moments of exemplary writing - at the level of the sentence, character, plot and in terms of relationships. There are a selection of monologues that are almost uniformly outstanding: raw, nimble and devastating.” - A Younger Theatre

 

SALT MEETS WOUND

“The writing has energy and breadth, and Morton-Smith juggles ideas and emotions as he places political and personal narratives side by side.” - Lyn Gardner, Guardian

“A remarkable achievement . . . Morton-Smith is obviously a highly-skilled and promising writer.” - The Stage

“The dialogue crackles with vicious insight and humour. ★★★★” - Time Out London