Eleanor Morton’s show takes a smart, but self-deprecating look at feminism and the comedian’s own place in it, but feels full of more potential than she delivers.
A perfect starter for a day of shows
Though her extensive experience in sketch and improv are impressive, it’s Morton’s more conventional routines, which all have a stylistic twist within them which feels very individual, that pack the biggest punches. Hints of a more alternative style that perhaps come from her experience as a board member at the Alternative Comedy Memorial Society, are subtle and well-interlinked with the straight stand-up that comprises much of her show.
Her strongest material comes from a mixture of observational and more confessional material which takes full advantage of her inherent on-stage likeability. Morton covers a diverse range of subjects, from the ornamental nature of a bride on what is supposed to be her big day to the inherent distrust men have of women, and even about the size of ravens. A clear historical focus feels underplayed with routines on underappreciated feminist icons from history, which she abashedly admits was inspired by a Buzzfeed article, containing a nuance and depth that could have been delved into further.
Though maybe not her best show, Angry Young Woman is both informative and enjoyable. It’s early time-slot makes it a perfect starter for a day of shows, and the budding talents of Eleanor Morton are worth seeing as someone who will surely be an influential mainstay of the circuit in years to come.