★ ★ ★ ★

Reviewer - Eleanor

*Disclaimer: Gifted tickets in return for an honest review

‘Next Door’s Baby’ is a musical play set in 1950’s Dublin. Two neighbouring families, the O’Briens and the Hennessys, both decide to enter their youngest children into a Bonny Baby competition which could either unite or divide them. Mrs O’Brien (Jackie Pulford) is the matriarch to your typical, large, working-class family. She is scraping by to provide for her children (Ben Hannigan, Hayley-Jo Murphy and Logan McQuillan) although she is particularly hard on her eldest daughter Orla (Amber Deasy). And in the adjoining terrace, Mrs Hennessy (Abigail Williams) is clearly focused on her position within the community; baking cakes for the vicar and wearing her furs for all to see. But she now has to contend with the return of her daughter Miriam (Shaylyn Gibson) following the death of her American husband (Sam Woodhams). It is the differences between these families which form the foundation of this story, although you come to realise that, secretly, they are more alike than they would wish everyone else to believe.

“I believe that all families, wherever they’re from, are alike. Leylines of tension and devotion run beneath each kitchen table.” – Bernie Gaughan, Author of ‘Next Door’s Baby’

It was very exciting to see so many of the case making their professional London debuts at Theatre at the Tabard and to support this smaller venue. Bernie Gaughan’s book gives a heartfelt insight into these two waring families, with the music and lyrics by Matthew Strachan giving them an engaging and emotive voice. This musical both amused and shocked me – I would definitely recommend a viewing of this work.

Straight away the musical begins with both family units on stage singing together in their respective households, highlighting the differences between them. The contrast provided at this early stage, using props and costume alongside the lyrics, give the impression that these women will come to butt heads sooner or later. And shortly thereafter they meet posting their entries to the Bonny Baby competition. The second song on this score truly encapsulates their frosty relationship while also providing some physical humour as they secretly try to post their letters.

I thoroughly enjoyed all of the songs here. There were variations within the score which fit with each of the characters while remaining authentically Irish throughout. Although there were some repeated themes and reprises, these never felt repetitive and had a clear place within the narrative. The songs performed by Amber Deasy felt very naturalistic. In a venue so small the audience can see every expression of each of the characters - and with such strong acting and singing we felt every emotion with them.

The characterisation in ‘Next Door’s Baby’ was equally strong. The kinship between all the characters in the O’Brien family scenes are very realistic, but it is the relationships between mothers and daughters which really draws you in. The concept of how the relationship between a mother and their daughter changes as they develop into a woman themselves is widely relatable and portrayed brilliantly both through dialogue and through song. I also enjoyed how the second half reveals more about the relationship between the two eldest O’Brien siblings, Orla (Amber Deasy) and Dicky (Ben Hannigan), as they share their dreams of travelling away from Dublin and the control of their mother; another widely relatable theme.

Although the younger O’Brien siblings (a young child and a young teenager) are played by older actors, they are very believable. This is amplified well with the use of hair and costume (designed by Alice McNicholas). They also display tropes that anyone with younger siblings would recognise, such as the way Larry (Logan McQuillan) taunts his older brother; an instance where he impersonates Dickie’s fiancé by wrapping a tea towel around his head and imitating her voice is particularly funny.

The show is peppered with humour, all of which landed well. In particular, the way the mothers belittle each other’s babies, suggesting they need a prayer or two, paired with their veiled politeness when in each other’s company. This level of humour worked well as it is similar to what you would recognisably hear in many family settings. It helped to invite the audience in and make you feel part of the family, sharing in the comedy with them.

But the show undoubtedly touches on some more serious topics, such as domestic violence and abuse. The scenes where this appears are heightened by such an intimate venue and with the lighting choices. This allows you to see these characters as three-dimensional, not only humorous but with dreams and fears which are all too real. This feeds into the play’s ending which comes unexpectedly. ‘Next Door’s Baby’ leaves the audience with a sense of fear but also hope for the characters you have grown to care for.

‘Next Door’s Baby’ is a well-crafted insight into the highs and lows of family life and relationships, which are shown honestly and with a high level of realism. Although there are some aspects of the plot you may pre-empt, I enjoyed watching as other characters discovered these secrets for themselves. Although this show is about women and motherhood, the male characters are well-fleshed out which means you become fond of the ensemble as a whole. Of course, there will always be limitations when a musical is housed in such a small theatre, such as staging and lighting options. But the heart of this musical is so big you feel enveloped by the story. I hope that in the future Next Door’s Baby will transfer to a bigger venue so more people can experience this show.