Review: Eggs Aren’t That Easy To Make (Riverside Studios))

Review by Ruth Sealey

⭐️⭐️⭐️

A rom-com of sorts arrives at Riverside Studios, with Eggs Aren’t That Easy To Make exploring queer love, parenthood, friendship, what it means to have a baby and, of course, eggs, all whisked together into 90 minutes. The premise feels ripe for the moment, giving a voice to versions of parenthood and women’s choices that are still rarely heard, and sometimes not even considered. At a time when women’s rights are being challenged across the world, the play brings these conversations into the spotlight with a generous helping of comedy. The question is whether it can strike the right balance between humour and a serious message or become scrambled in the process.

After debuting at last year’s Edinburgh Festival Fringe to positive acclaim, Eggs Aren’t That Easy To Make follows the parenthood choices of four friends. Dan and Claire, best friends since their university days, made a pact at “Melissa McQueen’s 21st birthday party” that, should Claire ever find herself in a long-term lesbian relationship, Dan would, without hesitation, be the sperm donor. The problem with this plan is threefold. First, Claire has absolutely no recollection of making such a promise. Second, her partner, Lou, needs more than a little convincing that Dan is the right choice. And third, Dan’s partner, Naomi, must somehow also be considered in the mix, which is no easy task when emotions, expectations and future family dynamics are to be considered.

Maria Telnikoff’s writing and Lauren Tranter’s direction make inventive use of the play’s time shifts, and I particularly appreciated how the manipulation of time builds to a satisfying ending. The staging is equally effective with the flow of dialogue spilling through exits and beyond, adding a lively, natural rhythm. The writing is, at times, very clever, with the dialogue landing with such precision that you are always aware of the craft behind it, yet it simultaneously creates the sense that you are intruding on conversations meant only for close friends. Telnikoff weaves together a multitude of themes, injecting just the right amount of humour, particularly in discussions about what actually makes a parent. Does shopping at Mountain Warehouse or having a National Trust membership define parenthood? I found myself subconsciously ticking off these markers, quietly assessing how closely I matched these stereotypes myself in a moment of humorous self-reflection.

However, for all its potential and clear strengths in the writing and direction, my main issue with this current iteration lies in the occasionally jumbled timeline. The shifts between university days and ten years later work well, as does the clever return that helps shape a thoughtful and satisfying ending. Yet the sequence of events surrounding the decision to use Dan as the sperm donor feels harder to follow. It becomes unclear how much time has passed during the ongoing discussions about whether he should, or shouldn’t, become their “Baby Daddy.”  There is an attempt to show this through some throwing of seasonal-themed confetti and wearing a Christmas hat, but this feels a little at odds with the rest of the production. The introduction of antenatal classes, before the trio are actually pregnant, added some confusion, leaving me wondering if I had somehow missed a key pregnancy announcement along the way. 

The cast, however, does really bring the relationships to life on stage. Rachel Andrews, as Claire, conveys beautifully both the deep bond of friendship with Dan and the tender, convincing romance with Lou. Her performance shines in the small moments, both comedic and heartfelt, making every conversation feel strikingly natural, as if the audience is eavesdropping on real life rather than watching a scripted play.  Esther Carr, as Lou, arguably has the most complex emotional journey in the play, and she brings depth and nuance to Lou’s journey.  Initially confident that finding a sperm donor will be straightforward, she gradually comes on board with Claire’s plan to use Dan. Watching this well-intentioned scheme unravel and seeing Lou grapple with the full implications, navigate her feelings of trust, and consider how relationships can be repaired when that trust is shaken is convincingly performed.  

Tom Kingman makes an impressive professional debut as Dan, showing clear promise for the future. He captures Dan’s naivety and infectious excitement at the prospect of fatherhood with ease. Sophia Rosen-Fouladi, as Naomi, is given a storyline that hints at deeper layers, that of a woman consciously choosing not to become a mother, though this thread could be explored further, as her perspective is not fully developed and feels a little superficial. Nevertheless, Rosen-Fouladi brings a grounded, steadying presence that neatly balances Dan’s exuberance. Together, Kingman and Rosen-Fouladi create a warm and endearing dynamic that adds heart to the story.

There is, however, a slight caveat to my appreciation of these characters in Rosen-Fouladi’s second role as yoga and antenatal teacher, Laura. While the character brings moments of humour, she feels like a somewhat unnecessary addition. A brief moment where she breaks the fourth wall and interacts with the audience feels out of keeping with the rest of the production and slightly disrupts the flow that has otherwise been carefully established. Although Laura provides comic relief, the conversations around childbirth could just as easily have taken place within the core group of friends, making her presence feel less essential to the overall narrative.

This production shows some inconsistencies in its storytelling, but it is still one I would genuinely watch again if it had a tighter timeline and a little refinement in some character choices. Even in its current form, it captures both the lighter and more difficult moments of friendship and partnership with warmth and authenticity. At its heart, the play explores important themes of parenthood and the varied paths people take, or are compelled to take, on that journey. It thoughtfully considers how much choice and control individuals truly have over becoming a parent, leaving the audience reflecting on the complexities and consequences of those decisions. This is a production with real promise, well worth seeing as it continues to develop. 

Eggs Aren’t That Easy To Make plays at Riverside Studios until 12^th April. Tickets from http://riversidestudios.co.uk/whats-on/mE-eggs-arent-that-easy-to-make/

Photos by Fabiano Waters