REVIEW: Black Eye

It’s a particular brand of endearing comedy that works.

By Saliha Chattoo

Stéphanie Morin-Robert is back after a two-year Fringe run of Blindside, this time with a dark comedy about cancer, pregnancy, and family. Black Eye starts with a catchy if overlong promotion for The Merkin Sisters’ forthcoming album where she and her colleague dance in costumes of red, curly pubic hair before the solo stand-up show begins. Morin-Robert’s signature style of a soft and assured voice draws you in and keeps you, with skillful back-and-forth between shock and laughter. It’s a particular brand of endearing comedy that works, with Morin-Robert speaking frankly about retinal cancer that took her eye and telling her child’s birth story the way it should always be told: in the disgusting, hilarious detail that gives moms the credit they deserve. The concept of a black eye plays throughout the set—most notably with Morin-Robert’s own black glass eye—and while guarantees are tricky when it comes to Fringing, there’s one without any hesitation here: you will never be able to guess how her husband got his.


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