REVIEW: Next Door’s Baby showing at Theatre at the Tabard 4 – 27 May 2023

‘An instant classic’ ★★★★★ 

A slick musical production populated by a wonderful ensemble cast who hit every note perfectly means that Next Door’s Baby is a delight for the entirety of its 2-hour length. Thanks to both a script and a catalog of songs that fleshes out a full range of emotions, all the way from joy to sorrow, this show is an instant classic.

The story itself focuses on two families in mid-20th century Dublin, neighbors but practically opposites. The O’Briens are a large family without the finances to match, five children with holes through their threadbare clothes and only their mother to look after them post the early death of their father. The Hennessys next door meanwhile seem to go everywhere in their Sunday best and are well able to maintain their own household as well as take care of their single adult child, Miriam.

Both households manage to somehow simultaneously look down their noses at each other as only close neighbors can, with the action of the play sparking from their shared desire to out-perform one another at an upcoming ‘Bonny Baby’ competition. This inciting incident may sound like something out of Father Ted, and it’s precisely this parochial, back-biting energy that the play initially leans into with a jovial spirit and snappy dialogue centered on this enjoyably mundane yet absurd premise.

But while we’re laughing along deeper story threads are being woven. Characters are shown to have quiet conflicts and suppressed dreams, even dark secrets, all of which slowly build to moments of cathartic drama and a bittersweet ending that I wouldn’t spoil for anything. Suffice to say, it all hums along excellently and the many simple but multi-faceted relationships that make up these characters’ lives drives the narrative forward at an engrossing pace.

This is helped along nicely by the music, for which the production is to be commended for sneaking in a piano and hiding it in the wings so that musical director Beth Jerem could play live and ensure the exceptional singing from all cast members was never without the right beats. The songs themselves, composed by Matthew Starchan, are direct and punchy and do a great job lending a pause to the narrative to further highlight character traits or story themes; they’re fun and effective interludes that further bring out the strengths of a highly talented cast, a true ensemble who’re wonderful to watch in motion.

All seem to have been ideally cast, singing as flawlessly as they acted. Standouts in particular were Jackie Pulford as the much put upon Mrs. O’Brien and Hayley-Jo Murphy (who is evidently also a gifted dancer and choreographer) as zealot-in-making Sheila. Additionally Sam Woodhams should not only be given credit for memorably populating various scenes with their necessary minor characters, from a bus driver to a priest, but also for giving electrifying voice to the lone villain of the piece, Miriam’s estranged husband Conrad. In a single scene Woodhams completely builds this particular character, brings to life the relationship of suffering between him and Miriam, sells the stakes that exist for both of them and changes the whole course of the narrative in one chilling climax - all in the space of about five minutes. Magical stuff.

I could go on about the rest of it for days, but here’s the executive summary: Next Door’s Baby delivers a brilliant script with brilliant acting, rounded out by brilliant singing. Brilliant, brilliant, brilliant. See it now.

Photography:  Charles Flint.

Next Door’s Baby showing at Theatre at the Tabard 4th May – 27th May 2023

Box office: https://tabard.org.uk/whats-on/next-doors-baby/

Written by Bernie Gaughan & Matthew Strachan

Directed by Keith Strachan

Choreography by Hayley-Jo Murphy

Musical Direction by Beth Jerem

Produced by Simon and Sarah Reily for Take Note Theatre for the Tabard

Reviewed by Harry Conway