Often heralded as the most prolific contemporary playwright, expect hot debates in response to Simon Stephens' premiere of his coming of age play Morning. Sex meets death in this typically dark, obscure, and experimental performance by the Lyric Young company in a display that underwhelms what might have greater resolve as a play text, rather than a performance. This new coming of age play hones in on 17-year-old friends Stephanie and Cat on the eve of their separation as the latter is about to depart for university; on this occasion they share more than just tuna sandwiches.
Delivered through an entirely monotone vocal pattern, the characters are un-relatable and whether a directorial decision or unhappy coincidence in the talent pot, these young actors' performances sit on the cusp of Brechtian alienation. Not entirely convinced either way, I did not buy into what they were selling. At times the script took a comedic vein, but this too was infrequent enough to label it a black comedy. Morning wraps randomness in plastic sheeting, floats relationships in a paper boat on a tank of water, and the refrigerator? Read what you will, it's just a fridge. Nevertheless, it's experimental style rouses certain interests but I wanted better clarity from its genre. Either tip it further towards the stylised, or bring it back on a more natural playing field.
The play is unpredictable, dangerous and sexually charged. But when morning breaks, the performance leaves its audience baffled, questioning one another's reaction to the show. Had they witnessed a slice of genius? I doubt it, but I know I couldn't stomach a second viewing.
