In “The Hunt”, two dancers move cyclically through an unseen place, conjuring it instead through their fingers, transects, and distances. From scenes of subjugation to flashes of abandon, Morgan stages dance as a communicative force, somewhere in the interplay of hunter and hunted.

Set against a backdrop of rising gender critical discourse, "The Hunt" envisions a coalition of tenderness and strength.

The work emerges in part from the Labours of the Months; popular medieval depictions of seasonal cycles of work and leisure, attributed to the laboring classes. It follows on from Morgan’s preoccupation with language, estrangement and the fictions of the body.