Eleanor Morton says a few times that she’s no good at structure, but it turns out to be a red herring as the narrative threads weave in and out. Post Morton is a portrait of where she is now in life. At 27 her friends are getting married and having babies. So there are tales of hen party hell and Morton’s irresponsible attitude to babysitting. She is still single, sitting about in her pants watching the wildlife eat from the birdfeeder stuck to her window and generally getting to grips with being an adult. It’s familiar comedy territory particularly for Morton’s generation. Plus there’s another niggle to her life – her sister is clinically depressed. Morton’s need, as the older sibling, to resolve her sister’s illness is an undercurrent running through the hour.
Despite her youth—this is already her fifth Edinburgh show in six years—there’s no dip in quality for Morton's prolific act. There’s bite here too, espeically on some commonsense feminism within a routine on the incredulity of male friends at the #MeToo revelations and in her views on marriage. Elsewhere there are digs at white privilege. But a particularly enjoyable inclusion in the show is her depiction of her conservationist dad, portrayed as a deadpan, practical foil to any of his daughter’s joyful sentimentalism towards animals.