Letters to Morrissey

The teen years are hard. Between not fitting in, avoiding bullies and living in a Scottish town known for its suicide bridge, Gary McNair’s unnamed antihero also has other battles to fight. His best friend is the subject of vicious rumours that may have a more ominous source. The school counsellor is nosey and overbearing. And Morrissey isn’t replying to his letters pleading for advice.

This coming-of-age solo performance uses sophisticated vocabulary and an engaging structure to capture teen angst without trivialising it. McNair uses contrast well – scenes with his counsellor are funny, while the letters he writes to his idol are vulnerable. He effectively generates empathy without patronising the audience or the young character, and strikes a good balance between funny and serious material. A surprising subplot leading to the show's climax adds gravitas, but is under-explored.

The design is one of the production's strong suits. Large, backlit photographs signify new scenes whilst evoking a teenager's bedroom. Records and magazines are piled up in corners of the stage, and a record player holds a key position. A back wall of audience-facing lights, the sort found at a gig, reinforces the importance of music in the character's life.

Though the characters within the story need further differentiating, the performance is compelling and the detailed text is handled with pathos and care. This is a strong example of solo performance that looks at youth culture with the seriousness and sensitivity it deserves.