by Chris Peterson
The other day, someone commented on why the musical Baby hasn’t gotten more love. I absolutely agree. I find myself wondering why this one is not pulled forward more often.
Because Baby feels like us. It’s cozy and real and kind of laugh-in-the-middle-of-a-serious-moment funny. Not because it’s full of jokes, but because real life is funny. Real life is messy. Real life is two people trying to make dinner and also navigate a life change that feels bigger than the house they’re standing in. You don’t need a big set or elaborate lighting to make this show work. It breathes just fine without the spectacle.
You get three couples, all figuring out pregnancy in completely different ways, and suddenly you have a story full of vulnerability and late-night honesty and the kinds of conversations you only have when you’re scared and excited at the same time.
These characters aren’t types. They’re real people. You don’t have to “play” them so much as step into them. And for actors, especially those in community and educational theatre, that kind of material is gold. It gives them something true to hold onto.
And the music. Maltby and Shire write like they’re talking directly to the nervous system. The score is heartfelt without tipping over into sentimentality. Songs feel like emotional journeys instead of vocal gymnastics. “The Story Goes On” can change someone if they’re ready for it. Not because it’s showy, but because it asks the performer to mean every single word. It rewards sincerity more than sheer power. You don’t need a seventeen-piece orchestra. You just need people willing to sing honestly.
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