Eleanor Morton: Great Title, Glamorous Photo

Every year when the Fringe guide comes out, there are a handful of names that I excitedly look for, and foremost amongst them is Eleanor Morton.

Everything I have ever seen her do is so consistently clever, funny, and insightful (as I am sure you will know if you have seen any of my previous reviews of her shows), and this year’s offering is no different. Taking on the misogyny and double standards of the comedy industry, ‘Great Title, Glamorous Photo’ follows Morton’s attempts to follow in her father’s footsteps as a glamorous American comedienne. The leads to her developing a dual personality between herself looking at how women are treated as comics, and the Joan Rivers-esque pastiche who delivers increasingly trepidatious overly sexualised one-liners, punctuated by high fives with the front row.


The show manages to talk seriously about some heavy subjects, including the murder of Australian comic Eurydice Dixon, and manages to be well informed and clever, but keeps the level of silly and funny up as well. This is essentially just an incredibly well-written and well performed show, where you are never more than half a minute from a big laugh or a well made point (and often the two combine beautifully). The character portions of the show manage to skewer a certain type of American comic (and manages to write jokes in their style better than they often do themselves), but never feels mean or as if it’s punching down at other comics. Then the brief end dialogue between the two nicely ties the strands of the show up, before a very clever, if somewhat silly, final twist, that I shan’t spoil here.


As always, this was a wonderfully charming and funny show from Eleanor Morton, and I excitedly look forward to seeing her name in next year’s Fringe brochure as well.

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Scott Redmond

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