SUGAR DADDY
Underbelly Boulevard
★★★
“blends stand up and storytelling into a hilarious, cohesive whole”
How do you survive losing the love of your life? Comedian Sam Morrison’s answer is laughter. His one-person show, ‘Sugar Daddy’, turns grief into big-hearted, belly-laughing comedy, even if it never gets past the denial phase.
Sam Morrison’s had a hellish few years. The love of his life tragically dies in the pandemic, he’s diagnosed with type 1 diabetes, and to top it off, he’s attacked by seagulls. His coping strategy? Turn it into cathartic theatre! Though try as they may, his grief counsellor can’t get him to sit in his feelings for long.
Morrison’s set blends stand up and storytelling into a hilarious, cohesive whole. His whimsical yet biting style skewers everything from death to diabetes to being grateful your plus sized partner has ashes to spare. The laughs are big, interleaving with cycles of reflection which cleverly mirror the ebb and flow of grief. It’s great strength is the balance of humour and emotion, really connecting with the audience in deeper moments. But there’s a real snag: every time things get vulnerable, Morrison pulls back. This happens repeatedly and the show ends without clear progression or payoff. Perhaps it’s an honest glimpse into grief’s open endedness? But as a show it never quite opens up, leaving it feeling a little stuck. Plus, the number of cycles makes time harder to track, and the grief counsellor feels underdeveloped.
That said, Morrison is undeniably funny, owning the room with sharp timing and fearless crowd work. He connects effortlessly with the audience, ad-libbing with impressive ease – at one point he warmly welcomes a late arriving silver fox while blanking their younger companion, bringing the house down. In full flow, he’s a breathless delight, before easing into more emotional beats. Though the transitions could be slicker in places, Morrison clearly knows how to command a stage.
Amrou Al Kadhi’s assured direction steers the show with aplomb, weaving in theatrical flourishes that lift the stand up and drive the narrative. The energy rises and falls naturally, and the pacing matches the emotional tone. Though the cycles could use further shaping to clarify the narrative and build emotional momentum, overall the staging lands with flair.
Hugo Dodsworth’s set summons a beach house with a sweep of gauzy curtains, complete with decking, dune grass and playful hints of what’s to come. A pew like row of chairs, complete with Bibles, comes into its own. Chuma Emembolu’s lighting tracks the show’s emotional shifts with precision, peaking in a striking moment in ITU. Slick transitions keep everything flowing confidently. Dodsworth’s video design has some standout moments, with demonically deranged seagulls and a darkly ironic death scene. Stylist Gabrielle Vazquez gives Morrison a polished lost boy look, pairing a simple vest and shorts with a glitzy brooch and chic scarf.
‘Sugar Daddy’ is a show about feeling lost which – perhaps fittingly – feels a little lost itself. But Morrison’s barbed jokes, incisive style and commanding stage presence make it well worth a watch.
SUGAR DADDY
Underbelly Boulevard
Reviewed on 14th March 2026
by Hannah Bothelton
Photography by Mark Senior
