Rising playwright and actor Edmund Morris returns to the stage with his haunting and heartfelt new play The Grim, showing at the Southwark Playhouse from 26 November to 6 December. Following a successful run at the Edinburgh Fringe, the play has been reworked and expanded for its London debut.
We sat down with Morris to discuss the eerie world of The Grim, his creative process, and what lies ahead for this multifaceted talent.
“The Grim,” which you wrote and star in, comes to the Southwark Playhouse in Borough from 26th November to 6th December. Can you tell me a little about the play and your role in it?
The play is about two undertakers living in the East End of London in the 1960s.
It follows Sean, a reluctant proprietor who has just inherited the family business from his father, and his assistant and best friend Robert, an Irish immigrant who has long worked with the company.
The story begins when the body of an infamous murderer arrives at the morgue for them to prepare for burial. On that day, strange and unsettling things start to happen, and the play soon takes a supernatural turn. It’s part ghost story, part crime thriller, and part meditation on grief.
The play’s title “The Grim” is striking where did it come from, and what does it mean to you?
Robert’s character, played by Louis Davidson, is deeply superstitious and religious. He refers to an omen from old English folklore the Grim. It’s said to be a black dog that haunts graveyards, and if you see one, it means you’re going to die.
For me, the Grim works as both a literal and metaphorical presence. It’s a gateway into the supernatural world of the play, but also a metaphor for grief for what happens when you don’t face loss properly or refuse to accept that someone is gone
The play first appeared at the Edinburgh Festival in 2024. Have you changed or developed it in any way for this new run?
Yes, absolutely. When we first staged it at the Edinburgh Fringe, it had to fit into a one-hour slot, so we had to cut a lot of material. I always knew there was more to explore once we had a bigger space.
When we later performed at the Old Red Lion, it still felt like the play had outgrown itself. For this new version, I’ve expanded it, giving the characters more breathing space and allowing the story to unfold more naturally.
“The Grim” is a three-hander. Are your fellow actors the same as in the Edinburgh production?
Yes, the same cast which I’m really grateful for. It’s rare in this industry, where people move on quickly, that we’ve kept the same director, cast, and creative team from the beginning. It’s a real testament to the strength of the piece and the passion everyone has for it.
Is it a tightly scripted piece, or do you allow room for improvisation and spontaneity during performances?
It’s quite tightly scripted. As a writer, I believe it’s my job to create something engaging and complete on the page. That said, rehearsal is always a place of discovery.
Our director, Ben Woodle, is brilliant at challenging us to find new layers and choices. The play has evolved a lot through that process. For instance, Harry Carter, who plays Jack, brought his Blackburn accent to the role, and I ended up rewriting parts of the script to reflect that dialect. It made the character feel more authentic.
Playwright or actor do you have a favourite? If you had to choose one forever, which would it be?
That’s such a tough question. I get bored easily if I’ve been writing too long, I want to act, and if I’ve been acting too long, I want to write.
But if I had to choose, probably writing. It gives me more agency. Acting can be frustrating because you’re always waiting for someone to give you a job. With writing, I can create my own opportunities. I’m constantly jotting down ideas and bits of dialogue on my phone it never really stops.
What other genres excite you creatively? Is there a play, film, or show you’ve been especially obsessed with recently?
I love dramatic pieces that are emotionally intense. Summer and Smoke by Tennessee Williams really moved me it’s serious and haunting, without much room for laughs, but it completely captivated me.
I also saw Network at the National Theatre gritty, cerebral, and incredibly intense. I’d love to explore that kind of drama in my own writing someday.
If someone were to make a film or play about your life, who would you want to play you and why?
David Tennant. He’s funny but can also handle serious material brilliantly. I think a play or film about my life would probably be quite silly, and I reckon he could pull that off perfectly.
Is there a question you wish interviewers would ask you but never do?
I wish someone would ask who my favourite West Ham player is it’s Jared Bowen!
Are you a fan of horror films or scary stories?
I love ghost stories though I find them terrifying to watch because I’m such a wimp! Maybe that’s why I’m drawn to writing them. They fascinate me that combination of fear, mystery, and emotion.
What’s next for you after “The Grim”? Any projects or ambitions you can share?
I’m currently writing my next play, which I can’t say much about yet, but it explores the mother–daughter relationship. It’s dark but funny I’m really excited about it and, of course, I’m doing the usual actor’s thing: going up for roles, waiting to hear back, and seeing what comes next.
With The Grim, Edmund Morris has crafted a story that’s as chilling as it is poignant a blend of folklore, friendship, and the haunting nature of grief. As he continues to evolve as both a writer and performer, Morris proves he’s a storyteller to watch one unafraid to face the darkness, both onstage and within the human heart.