Review: BREEDING, King's Head Theatre

"Why do you want to be a parent?" This expansive, almost unanswerable question is one of many asked to gay couple Zeb and Eoin when they decide they want to adopt. In Breeding, writer Barry McStay unpacks the ‘new normal’ of queer parenthood in a crowd-pleasing narrative that doesn’t shy away from the darker moments.

Down-to-earth Eoin (McStay) has always wanted children, seeing it as what comes next after marriage, while his slightly wilder husband Zeb (Dan Nicholson), a city lawyer, needed a little convincing. Returning to the King's Head after a successful run last year, Breeding, follows the couple's journey through each step of the adoption process, including the unexpected bond they form with their case worker Beth (Nemide May). 

McStay’s writing is sharp and witty, with particularly strong characterisation. Within a couple of scenes, we have a thorough understanding of Zeb, Eoin and their dynamic – the interviews and meetings of the adoption process provide a perfect framework for exposition without feeling forced. The play’s tone is delicately crafted, gradually shifting from a joke-a-minute comedy to something desperately tragic. It does fall into a few new writing pitfalls: some of the dialogue feels a little formulaic, with arguments escalating a little too quickly, and McStay sometimes steers away from the uncomfortable, morally grey moments rather than digging his feet in. Some of the key beats are somewhat predictable, and there are a few cliches here and there. Nonetheless, Breeding offers a thoughtful and entertaining insight into the world of queer adoption – it’s especially great to see a story that incorporates lesbian characters as well as gay men.

All three cast members give solid, emotionally engaged performances. Nicholson shines in the earlier, more comedic scenes, while May comes into her own towards the end and McStay remains strong throughout. The real star of this production, however, is designer Ruby Law. Her set features pages of the adoption forms and worksheets printed in primary colours, alongside oversized kids’ building blocks and a winding blue road/river that lights up. Law perfectly executes a set that’s creative and fun while remaining rooted in the story; it’s more than just a visual gimmick. A particularly standout aspect of the set is a light up set of numbers, which come to hold a bittersweet double meaning as the play progresses. It’s really outstanding work. 

Director Tom Ratcliffe uses this set intelligently: he strikes the ideal balance between creative details and blocking that gets the job done without drawing too much attention to itself. The thrust layout works well, creating the illusion that the audience are peering into the couple’s living room. A few of the directing choices towards the end of play border on trite, but overall this is a very smartly directed production. Jac Cooper’s sound design and Rachel Sampley’s lighting compliment the set and direction well, giving the show a cohesive style all round. 

Above all, Breeding is undeniably entertaining. While it can border on soapy at times, it’s an authentic, endearing story that manages to be both laugh-out-loud funny and really quite upsetting. The King’s Head have a long-term commitment to telling LGBTQ+ stories, and this one sheds light on a topic we’ve been yet to really see onstage. It may not be anything groundbreaking, but it’s a story really worth telling and a fun night at the theatre. 

Breeding runs at the King's Head Theatre until 14 April

Image Credit: Ed Rees

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