The question that creator and writer Emily Beecher was asked most often when pitching The Good Enough Mums Club to producers was: ‘Why isn’t there a man in it?’ Shows with all-female casts are rare and shows about motherhood are even rarer; if a mother appears on stage, she is often there primarily to further the story of a son or husband. This production, which has just made its world premiere in Birmingham, is a refreshing change, putting the joys, traumas and absurdities of motherhood centre stage.

The idea for the show came from Beecher’s experience of postnatal depression and postnatal psychosis. Once she started to share her diagnosis with other mothers, she found they were all struggling in different ways, and over the past decade she’s spoken with mothers across the country, whose stories have influenced the development of the show’s five characters.

These women meet at their local playgroup, all putting on a happy face, but as their community centre is threatened with closure, they are forced to address their private struggles and come together to save their space.

It’s clear from the opening number, a witty pastiche of Chicago’s ‘Cell Block Tango’ which graphically details the physical and emotional changes that take place during pregnancy, that this show isn’t pulling any punches. It’s frank and unapologetic throughout, whether it’s dealing with burning questions like why children’s television is so weird, or tackling serious issues like child loss or the cost of living crisis.

The opening also gives us the first taste of Natasha Harrison’s entertaining choreography, featuring everything from prams to oversized teddy bears. It works well in the mostly open space of Libby Todd’s bright, blocky set, which feels like a universal playgroup.

The cast does an outstanding job of conveying the camaraderie between the mums, the quiet tensions underlying their interactions, and their eventual love for each other as they learn to support rather than judge. Jade Samuels is a force of nature as Brummie single mum Chantel, commanding the stage with her bold body language and rapping with perfect precision. She’s the polar opposite of Joanna Kirkland’s restrained, brittle group leader Bea, a perfectionist who’s hiding the breakdown of her marriage. Kirkland lets Bea slowly, quietly unravel to devastating effect.

Amy Ross is equally impressive as the relentlessly chipper Sophie, and her solo ballad is the most affecting moment of the show as she reveals a difficult secret. Rebecca Bernice Amissah gives a thoughtful performance as Michelle, a Black mother unsure how to explain a racist world to her twin sons.

It’s the character of Esme, brilliantly played by Belinda Wollaston, who most closely emulates Beecher’s journey, as she faces horrifying auditory and visual hallucinations. The audience is transported into her experience of postnatal psychosis as phantom baby cries echo around the auditorium, and momentary uses of blue strip lighting give an eerie appearance to the normally warmly lit set. Wollaston’s confusion, desperation and pain are almost tangible when she sings; at times it sounds like the vocals are being ripped from her throat.

Despite many powerful moments, there are times when the show still feels like a work in progress, with certain plot threads created and then abandoned. And while Verity Quade’s music is mostly effective, some of the ballads need a stronger melody to avoid blending together. With a little more development, though, this show could have a big impact on the theatre landscape. It’s a vital reflection of experiences that millions of women go through, with an essential message of self-acceptance which counteracts society’s narrative that mothers should be perfect.

It’s also a production that is paving the way for a model that supports parents working in theatre, with child-friendly rehearsals and creative, production and management teams that all feature mums.

There are baby-friendly matinees, too, increasing audience accessibility. This isn’t just a show for parents though; everyone can enjoy its humour, honesty and hope.

Production credits

Verity Quade music

Chris Passey additional music

Emily Beecher lyrics, book

Cast Rebecca Bernice Amissah, Joanna Kirkland, Amy Ross, Jade Samuels, Belinda Wollaston

Direction Sarah Meadows, Michelle Payne

Musical direction Debbi Clarke

Music supervision, arrangements Verity Quade

Choreography Natasha Harrison

Set, costumes Libby Todd

Lighting Aaron J Dootson

Sound Andrew Johnson