Fidelis Morgan

English actress and writer

Fidelis Morgan (born 8 August 1952) is an Anglo Irish actress, writer and director. She has acted with the Royal Shakespeare Company, the National Theatre, in repertory in various British cities and in the West End transfer of Noël Coward's The Vortex. She has written stage plays based on the novels Pamela Her novels include the Countess Ashby dela Zouche series of historical crime mysteries including The Rival Queens.

Morgan was born in a gypsy caravan that stood in a corner of the grounds of the ancient Abbey of Amesbury, halfway between Stonehenge and Woodhenge. Morgan's family moved several times when she was a child, but she always thought of Liverpool as home. Her television appearances include The Liver Birds (1974), Rachel Gold in The Politician's Wife (1995), four different roles in The Bill (1985 1998), Dorcas in As Time Goes By (1996), the Hon. Myrtle Pongleton in two episodes of Jeeves and Wooster (1991), Rosalie in four episodes of Big Women (1998), Assistant Registrar in Dead Gorgeous (2002) and was Bunty Brace Girdle in 20 episodes of Mr Majeika (1988 1990). Her film roles include Matron in Never Let Me Go (2010), Morgan has put on several 50 minute shows at the National Theatre. In 1991 in the National Theatre's Cottesloe Theatre her show on 'Female Playwrights of the Restoration' was concerned with the largely neglected plays by women dramatists written for the London stage in the late 17th and early 18th centuries. The show, subsequently entitled The Female Wits, included extracts from the plays performed by a group of actors and played at various literary festivals including the Isle of Wight, Truro, Utrecht, and on Queen Mary 2. Again at the National, in 2011 she interviewed her friend Celia Imrie on the platform of the Cottesloe Theatre. In 2015 Morgan returned to Glasgow's Citizens' Theatre to take part in its 70th anniversary celebrations, performing an extract from Mary Stuart with Ann Mitchell.

Morgan's novels include the Countess Ashby dela Zouche series of historical crime mysteries: Unnatural Fire (2000), The Rival Queens (2001), The Ambitious Stepmother (2002) and Fortune's Slave (2004). The Rival Queens was nominated for a Lefty Award for "the most humorous mystery novels published in the U. S. in 2002" by Left Coast Crime, California, in 2003. Her non fiction work includes The Female Wits, the first study of female playwrights of the Restoration stage and biographies of charismatic female figures from the 17th and 18th centuries including Charlotte Charke. and Patrick Hamilton's Hangover Square (Lyric Hammersmith, 1990, and the Finborough Theatre, London, in 2008). For her work on Pamela for Shared Experience, Morgan was nominated Most Promising Playwright in Plays and Players (1985). In 1988 she wrote and directed the sketch 'Fat Life' for Before The Act: A Celebration to Counter the Effects of Section 28. This was a gala held at the Piccadilly Theatre to protest Section 28, which had been enacted on 24 May 1988. The programme consisted of material created on gay themes. In 1997 two of her sketches were performed in Then Again, a revue directed by Neil Bartlett at the Lyric Hammersmith.

In 2011 at the Finborough Theatre Morgan directed a sell out production of Lennox Robinson’s Drama at Inish starring Celia Imrie and Paul O’Grady, while in the same year at Finborough she directed a reading of The Piper, a new play by Colleen Murphy at Vibrant – A Festival of Finborough Playwrights. The cast included Philip Herbert, Dudley Sutton, Julian Wadham, Siân Thomas, George Irving and Pauline Moran. In 2018 she directed a production of But It Still Goes On by Robert Graves and starring Sophie Ward and Alan Cox, again at the Finborough Theatre. In 2014 at the St. James Theatre Morgan directed Celia Imrie in Laughing Matters, and directed Wedlock Deadlock at the Kings Head, starring Paola Dionisotti, Sian Thomas and Celia Imrie and adapted into a musical from The Custom of the Country by Susanna Centlivre. Also in 2014 she was Artist in Residence at the University of California where she directed a production of The Gambling Lady by Susanna Centlivre, a play Morgan rescued from near oblivion in her book The Female Wit. In 2019 she directed The Wooden Meadow by Stewart Pringle at the Finborough Theatre.