Review: Son of a Bitch, Southwark Playhouse

Anna Morris‘ debut play, Son of a Bitch, offers a raw and unfiltered exploration of motherhood, blending brutal honesty with dark humour. This captivating one-woman show enters on Marnie, a mother whose life unravels after a video of her calling her toddler a c*nt goes viral. This public spectacle compels Marnie to confront not only the fallout from her actions but also deeper truths about herself.

The minimalist set design – a single chair illuminated by a striking double ‘C’ motif – serves as a powerful visual anchor throughout the performance. The design subtly emphasises the word that haunts Marnie, creating a constant reminder of her slip-up as she recounts the events leading up to and following the viral incident. The stage is also made to look like the aisle of a plane, where the incident happens. This clever staging by Cory Shipp enhances the emotional weight of the narrative, allowing the audience to feel Marnie’s shame.

Morris navigates Marnie’s journey, showcasing her talent for character differentiation as she embodies various figures in this woman’s life. With nuanced body language and distinct accents, she breathes life into each role, enriching the narrative with depth and authenticity. This skilful portrayal invites the audience to empathise with the complexities of Marnie’s relationships and the challenges she faced in the lead up to calamity.

The narrative employs strategic time jumps that could easily confuse, yet clever lighting choices ensure smooth transitions, guiding the audience through two decades of Marnie’s life with clarity. A cyclical structure, which begins and ends at the same moment, lends the play a cohesive feel, tying up loose ends and reinforcing the notion that Marnie’s journey encompasses both her past and her future.

Morris tackles hard-hitting themes of shame, regret, and the complexities of motherhood with thoughtfulness, skilfully weaving in plot twists that keep the audience engaged. The emotional climax of the monologue elicits a palpable reaction, as Morris draws on raw emotion, leaving many in the audience visibly moved. This powerful moment underscores the play’s exploration of maternal guilt and societal judgment, inviting reflection on the often unflattering realities of parenthood.

One intriguing aspect of the play is its integration of surtitles, which while occasionally distracting, cleverly ties into the themes of social media and public scrutiny. The surtitles serve multiple purposes: they provide clarity when different characters speak and function as a boarding sign or even an inner monologue. However, while helpful at times, the play might benefit from a little more action without the captions, allowing the audience to immerse themselves fully in the performance.

That aside, Son of a Bitch is a bold and insightful examination of the messiness of motherhood, brilliantly delivered by Morris. With its sharp wit and poignant observations, the play challenges us to confront our own imperfections and the uncomfortable truths we often prefer to ignore. Morris’s performance is a testament to the complexity of the experiences many women face, making this debut a compelling show.

Written and performed by: Anna Morris
Directed by: Madelaine Moore
Set Design by: Cory Shipp
Lighting and Creative Captioning Design by: Megan Lucas

Son of a Bitch plays at Southwark Playhouse until Saturday 15 March.