Babies at the Other Palace

Debuting in London at the Other Palace theatre after a sold-out concert series on the West End, Babies is a short and snappy summary of the difficulty of adolescence and looming adulthood. It follows a group of teens trying to navigate the trials and tribulations of growing up, set in a week in their lives in Year 11 while caring for an artificial baby.

The musical was directed by Martha Geelan and Jack Godfrey and features bright lighting choices, a small stage and two platform ladders. Structurally, the musical numbers in Babies often bleed into one another, rarely with a break in between – except for audience applause.

The cast all settle into their roles beautifully, with standouts being Grace Towning playing Becky, who fits into the young-school-vlogger-wannabe-influencer role seamlessly, as well as the hilarious Max Mulrenan as the dopey boyfriend of Becky, Ben, and, of course, our fabulously confident baby father Toby. Towning’s over-exaggeration of Becky’s excitable tone as she talks to her camera really showcases an impressive ability to combine comedic timing with her character’s defining personality trait: wanting to be famous. Her moments with Ben make for some laugh-out-loud bits and give an insight into obnoxious teenage relationships.

While each character does get their own arc, the story is sung throughout. Sequences are filled with characters narrating through song as they happen, and it works wonderfully. Mirroring the way teenagers talk, a choice to have the characters do this works in scenes of tense conflict – particularly between Leah and Jasmine. Shadowing the conflict between these two are fantastic orchestrations by Joe Beighton and Jack Godfrey that provided a lovely accompaniment to the serious moments of the play. The hectic jump between pop-rock musical numbers reflects the chaotic time of being a teenager and having to balance friendship, love and family, themes that weave into each character’s lives as they deal with one or many of them.

Where the production falls somewhat short is in the lacklustre romances of its LGBTQ+ characters. Not enough time is spent exploring these dynamics, and even the sections that are supposed to feel grave and resonate with audiences feel a bit hit-or-miss, particularly with Leah’s storyline. Perhaps on Whelan’s part, it’s an intentional commentary on the fact that everything at that age is not that serious. By the end of the performance, the nine reach a satisfying conclusion, and we see our characters figuratively and literally let go of their worries in a certain touching cliffside scene.

How Babies shines is through its cast as an ensemble. The harmonies and synchronisation prove to be a credit to Harry Blumenau Casting, given the unstoppable chemistry between the group. Each member easily assumes the role of a backup singer or dancer when it comes time for the others to have a spotlight. Right from the opening track Baby Baby Baby, you could see this cast in a British High School Musical.

If you want a relatable and funny retelling of what it’s like to be in Year 11, Babies is just that.

Sophie Humphrey
Images: Matt Crockett

Babies is at the Other Palace from 7^th June until 14^th July 2024. For further information or to book visit the theatre’s website here.

Watch the trailer for Babies here: