Photo: Ian Whalen
"Hotel, is so contemporary it hurts......it’s a dystopian vision of a hotel as prison, mixing film both live and projected with the dance to create a clever and surreal space where anything can happen. The movement is consistently interesting, punchy and spiky, and the shifts in focus from close-up to long-shot genuinely intriguing."
Sarah Crompton, The Observer
"Runacre-Temple achieves the tenuous balance between the physicality of fluid, expressive movement and naturalism. That skill for both stripping back and layering action reaches its pinnacle in a scene where the dancers interact with their filmed reflections, multiplied across the backdrop that separates the Hotel frontage from the rooms hidden behind. It's nothing short of brilliant..."
Rachel Elderkin, The Stage
"This Coppélia is a successful stride into ballet's future."
Lyndsey Winship, The Guardian
"This is a treat of a show, full of Christmas cheer. The department store here becomes a sacred space of transformation, an enclosed world dedicated entirely to dance, where cares and troubles are chased away like the rats in Act 1."
Katy Hayes, The Independent on Nutcracker Sweeties.
"Runacre-Temple’s choreography (Kingdom of Back) is playful, but tension thrives, first in a wistful solo that illuminates Nannerl’s haut-monde station in life (Marie Antoinette beehive included) and, later, in sweeping group numbers that lay bare the imperious influence of her father (Javier Torres, sporting a chilly glare). Frank Moon’s characteristically quirky soundtrack is a joy."
Sara Veale, The Observer, November, 2019
"The innovative choreographer, Morgann Runacre-Temple, came up with the idea of articulating the fingers for piano as motifs to convey the personalities of the playful young woman and her imposing father... a lovely and airy piece, and a great display for a subtle narrative."
Philip Tunstall, Dance Europe on Kingdom of Back
"Most successful in terms of creating its own unique world is Morgann Runacre-Temple’s The Kingdom of Back, inspired by Mozart’s sister Nannerl, her wunderkind brother and stern, exacting father (“After God comes Papa,” says the voiceover). It has a curious, mischievous, dreamy spirit – she opens with the doo-be-doo sound of the Swingle Singers rather than a conventional Mozart recording. In relatively simple movement language, Runacre-Temple captures the playful, loving, occasionally jealous relationship between older sister and young prodigy..."
Lyndsey Windship, The Guardian
"Runacre-Temple taps into a zeitgeist so many other ballet companies desperately want to access right now, making relevant what is often seen as an elitist art form while still honouring its roots.......Runacre-Temple understands this image appeals to more than just little girls who want to grow up to be dancing princesses, or moneyed audiences who have done so. This sense of wanting to know the person behind the persona on stage is as common now as asking for a daughter’s hand in marriage was in Shakespeare’s time. Runacre- Temple gets it, and Ballet Ireland fortuitously has gotten a head start on discovering and nurturing her talent."
The Irish Times on Romeo and Juliet
"The movement is beautifully differentiated with her cool blond, hauteur slowly allowing more until they circle the room in a hot and edgy duet – not smutty but my goodness it smoulders."
Bruce Marriott, DANCETABS
Morgann's video reel is here.
Morgann is a freelance choreographer from London working in ballet, contemporary dance, theatre, film and opera.
She has created work for Ballet Ireland, Northern Ballet, Stuttgart Ballet's Noverre Evening, Scottish Ballet, English National Ballet, English National Ballet School, Ballet Central, The Print Room, Images of Dance, Northern Ballet Choreographic Lab 2016, Royal Ballet Participation, BBC Young Dancer of the Year 2017 and Wilton's Music Hall.
In partnership with Jessica Wright, Morgann directs and choreographs dance films as 'Jess and Morgs' Films. Their film credits include The Try Out for RANDOM ACTS Channel 4, The Last Resort (English National Ballet & TATE Liverpool) and Curing Albrecht (English National Ballet & Manchester International Festival, available on BBC iPlayer) Curing Albrecht won Best Film 2018 at NRDFF and Best Director at Portland Dance Film Festival.
Other film work with Jess includes, Tremble for Scottish Ballet's 2019 Digital Season which won Best Dance Film at London's New Renaissance Film Festival; and a a film commission from English National Ballet inspired by Christopher Wheeldon's Cinderella released in 2020. In 2020/21 she and Jess are directing a film about ballerina Marie Taglioni starring Alessandra Ferri.
As a movement director and choreographer in opera and theatre, Morgann has worked with directors including Sam Brown (Barber of Seville WNO), Jeff James (Persuasion, Royal Exchange), two plays by Debbie Tucker Green, Random and Generation directed by Tinuke Craig at Chichester Festival and The Crucible at Storyhouse, Chester directed by Geraldine Alexander. In 2019, Morgann assisted choreographer Annie B Parsons on Enda Walsh and David Bowie's musical Lazarus, directed by Ivo Van Hove in Amsterdam. In 2020, Morgann worked with Tinuke Craig on a new production of Hamlet for young audiences at London's National Theatre.
In December 2020, Morgann and Jessica directed the award-winning The Secret Theatre, an online Christmas ballet for Scottish Ballet.
In 2021, Morgann created Wolf, for Ballett Oper Graz in Austria, Nutcracker Sweeties for Ballet Ireland as well as works The Royal Ballet School, English National Ballet School and Images of Dance.
2022 saw the creation of a new full length re-imagined Coppélia for Scottish Ballet which premiered in August at the Edinburgh International Festival to critical and audience acclaim. Later in 2022, she created Hotel for Birmingham Royal Ballet. Both productions were short listed for the Fedora Prize for Ballet 2021. 'Jess & Morgs' were also nominated for the 'Outstanding Creative Contribution Award' at the National Dance Awards 2021.