Be My Baby

Amanda Whittington’s Be My Baby remains one of the most quietly affecting plays of the twentieth century, set in 1964 and centred on the young women sent to mother‑and‑baby homes to give birth away from public view. At its heart is Mary Adams, a bright teenager whose future is abruptly redirected when she becomes pregnant. Within the home she meets Queenie, Dolores and Norma, each navigating secrecy, expectation and the looming reality of adoption. The Act One Beginners Advanced Drama Group approached this tender, emotionally charged story with maturity and care, guided throughout by the thoughtful direction of Leanne Wharf. What began as a workshop piece grew into a fully realised performance that more than justified its place before an audience.

The production ran with smooth precision from scene to scene, the cast handling every transition themselves with calm efficiency. Props and set pieces were moved with quiet confidence, transforming the compact stage into bedrooms, wash rooms and the Matron’s office with ease. Lighting was kept simple and supportive, sound and effects clean and unobtrusive, allowing the emotional core of the play to remain front and centre. Leanne oversaw all departments with her characteristic attention to detail, ensuring that props, scenery and costumes were era‑appropriate and contributed to the authenticity of the world she and the ensemble created.

At the centre of the story, Summer Stubs gave Mary Adams a performance full of emotional nuance. She captured Mary’s early innocence and ambition with a gentle brightness, allowing the audience to feel the weight of her sudden change in circumstance. As the play progressed, Summer revealed Mary’s growing resilience — the quiet determination beneath her fear, the flickers of hope that surfaced even in moments of heartbreak. Her ability to hold stillness onstage, letting emotion rise without ever forcing it, made Mary the steady heartbeat of the production.

As Queenie, Gracie Heffernan brought rebellious wit, sharp humour and a surprising depth of feeling. She handled Queenie’s bravado with crisp timing, but it was the vulnerability beneath the swagger that made her portrayal so compelling. Gracie allowed the audience to glimpse the fear Queenie hides behind her jokes, the longing for connection, and the fierce loyalty she feels toward the other girls. Her presence added electricity to the ensemble, lifting scenes with both energy and emotional honesty.

Ruby Whittaker’s Dolores was tender, thoughtful and quietly affecting. She carried herself with a softness that contrasted beautifully with the sharper personalities around her, and her lovely a cappella vocals created one of the production’s most memorable moments — a still, fragile pause where the audience seemed to breathe with her. Ruby’s portrayal captured Dolores’ gentle nature and the quiet courage she finds in friendship, adding a delicate emotional thread to the story.

As Norma, Gracie Thorpe offered a deeply sympathetic performance, portraying the character’s anxious fragility with careful restraint. Norma is a young woman trying desperately to hold herself together, clinging to routine and rules as a way to steady her fears. Gracie allowed those fears to surface gradually — a tremor in the voice, a tightening of posture, a sudden burst of emotion that felt entirely real. Her sensitivity ensured Norma never faded into the background; instead, she became a vital reminder of the emotional toll the era’s expectations placed on young women.

Ruby Howarth brought a commanding presence to Matron, embodying the institutional authority of the home with clipped precision and an unwavering gaze. She avoided caricature, instead presenting a woman shaped by duty, routine and the rigid expectations of the time. Ruby’s controlled stillness made her moments of firmness all the more impactful, and her presence added a palpable tension whenever she stepped onto the stage. Her portrayal grounded the world of the play, reminding the audience of the system the girls were forced to navigate.

Completing the ensemble, Sara Zahraoui gave Mrs Adams a poised and quietly powerful presence. She balanced propriety with flickers of genuine concern, portraying a woman torn between social expectation and maternal instinct. Sara’s measured delivery and composed physicality created a character who felt real, conflicted and shaped by her era. Her scenes added depth to the wider story, showing the pressures families faced and the difficult choices imposed upon them.

The unity of the cast, both onstage and backstage, gave the production its quiet strength. Every department worked in harmony, every transition was handled with care, and every performer contributed to the emotional fabric of the piece. It was a thoughtful, well‑crafted evening of theatre that honoured Whittington’s script and showcased the talent and dedication of the Act One Beginners Advanced Drama Group.

As ever, heartfelt thanks go to the front‑of‑house team, whose attentiveness and professionalism ensured the audience were welcomed, supported and made comfortable throughout the performance. Their contribution remains an essential part of every successful show.

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