Doomsday Baby, Theatro Technis
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Doomsday Baby starts with a really original idea. When a civilisation ending climate disaster strikes, Eve and her teenage son, Adam, are forced to rebuild their lives underground. However, when new problems emerge, mother and son must decide whether it’s better to live with the demon they know, or face the unknown dangers above. We caught up with writer Jacqueline Tooley and Midnight Lotus Productions‘ Mrin Somani to find out a little more.
What can audiences expect from the show?
Audiences can expect a show which is intense and thrilling, and yet asks them to keep believing that hope for humanity still exists. Although dark at times, the play has humour woven throughout; these characters, particularly Eve, are funny. It’s an extreme situation the characters find themselves in and often these intense situations breed very comedic moments. We hope audiences leave asking themselves what they might do if they found themselves in a similar situation.
Is Camden Fringe going to be the show’s first time on stage, or have you already performed elsewhere?
The play had a short reading at Soho Theatre last summer, starring our fantastic director Jez Davess-Humphrey. The play has evolved since then, matured I think, and gotten closer to the heart of what it’s trying to be. The characters have evolved a lot and the world has become richer and more vibrant… even if we are still locked in a bunker!
What was your inspiration behind the show?
The show is inspired by two different rabbit holes I fell down – doomsday preppers and the #BoyMum social media trend, and what happens if you combine the two in one space and time. Doomsday preppers are people who believe in preparing for a major civilisation ending disaster. #BoyMums are an intense group of mothers who are emotionally over-invested in their sons to varying degrees (TikTok provides some great examples)
How long have you been working on the play?
I began writing Doomsday Baby in December 2023 as part of my Masters thesis play, so it’s been in the works for a little while now!
Is this version how you originally envisioned it or has it changed drastically since you first put pen to paper?
It’s pretty similar to the first draft in terms of structure and tone. The main changes have been through characterisation and dialogue – distilling down what and how things are said to get the story across the best way possible.
Being a fringe festival, we all know sets have to be bare minimum, how have you got around this with your set and props?
Luckily, Doomsday Baby takes place in one room so that makes it pretty easy in terms of set changes. Although I’m quite descriptive with the set and props in the script, I’ve left it open to the director to interpret that as he sees fit. A bunker can be a pretty bare place!
Are there any plans for what comes next after the show has finished its run– for you or the show?
I’d love to see Doomsday Baby to have a life after the fringe – I think the fringe is a great place for a show to get its sea legs. I plan to adapt it into a screenplay as well.
If you had to describe your show as a meal what would it be, and why?
A cup of tea with a side of burnt baked beans.
If your show had a soundtrack, what songs would definitely be on it, and why?
As the World Caves In by Matt Maltese, and Wouldn’t It Be Nice by The Beach Boys.
Thank you Mrin and Jacqueline for giving us the lowdown on this fascinating play. If you want to join Everything Theatre at Doomsday Baby, you’ll catch it a the Theatro Technis 6 – 8 August.
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