Written by Sammy J Glover and Marie Sophie

Review by Moyra Jones

Summerhall – Red Lecture Theatre

Baby in the Mirror is the debut production from Second Adolescence, co-created by Sammy J Glover and Stella Marie Sophie. It explores a theme that feels particularly prominent at this year’s Fringe: queer baby-making.

The opening is electric – one of the best I’ve seen at this year’s festival. Glover and Marie Sophie’s script hits the ground running, as Lena (played by Marie Sophie) and Joey (Zoe West) juggle phone calls, unpack boxes, and chat casually in their new home. Their overlapping dialogue is warm, witty, and natural. Marie Sophie and West establish a relatable couple dynamic that feels lived-in and affectionate with impressive ease. It’s funny, heartwarming, and remarkably effective at setting up their relationship, a queer couple in their 30s about to take a big next step and have a baby together.

The first transition is beautifully directed by Glover. Blue lighting and synthy music signal the shift, as Lena re-clutters the stage and changes into her “Friday” pants – a playful and clever way to mark the passage of time. But from here, both the relationship between Lena and Joey – and the script itself – begin to show cracks. The tone pivots quickly into conflict. And the arguing doesn’t let up.

In the third scene, we’re introduced to Ollie, the so-called “Spuncle” (sperm-donor uncle), played with high energy by Derek Mitchell. He’s just slept with his ex, Lena wants a night out, and tensions flare. Harsh but honest words are exchanged. Then Lena and Ollie clash, and Joey – whose calls have been ignored – returns early from their camping trip. Another argument breaks out, this time over a conversation between Joey and Ollie that happened behind Lena’s back. The conflict at this point feels forced and overly compressed. It’s hard to believe everything is falling apart so completely in the span of just two days.

By now, the relentless arguing becomes exhausting. Perhaps this is intentional – a reflection of the emotional messiness inherent in chosen families and queer parenting – but the clarity of purpose begins to blur. The emotional core is there: the play raises vital questions about bodily autonomy, parental rights, and the complex position of the non-biological queer parent. Joey’s uncertainty about what their child will call them – and the pain of knowing their body won’t be part of the baby – is especially powerful. But these moments risk being drowned out by the barrage of arguments, many of which start to blur together. I begin to lose track of the conflict’s origin. Who said what? Who didn’t say something? Is everyone being too honest – or not honest enough?

The messiness is thematically appropriate, but dramatically, it becomes difficult to stay emotionally invested. The ending is abrupt, and the emotional payoff feels weakened by the vagueness and fragmentation of the scenes that precede it. Baby in the Mirror asks vital questions and contains moments of genuine theatrical strength. But its underdeveloped narrative arc and reliance on near-constant conflict ultimately limit its impact.

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