This story was produced by the OC Theatre Guild as part of a community media partnership with Culture OC. It was written and edited independently by the Guild’s selected contributors. This collaboration supports our effort to celebrate and amplify the vibrant arts and culture scene in Orange County.

‘Baby With the Bathwater’ at No Square Theatre — From left, Hillary Pearson and Roy Ellison. Photo courtesy of Emma Donahue

By OC Theatre Guild

November 3, 2026

Written for OC Theatre Guild by Shannon Cudd

No Square Theatre

‘Baby With The Bathwater’

When: Nov. 6 – 22, 2026

Where: 384 Legion St, Laguna Beach

More Info: www.NoSquare.org

Even the childless and childfree are greatly impacted by parenthood. Every person on Earth comes from someone else, and how a parent chooses to fulfill their role has ripple effects for generations to come. This is the central premise explored in Christopher Durang’s zany comedy “Baby With the Bathwater,” presented by No Square Theatre.

Director Trace Oakley has long admired Durang’s work and is excited to be directing it for the first time. He couldn’t agree fast enough when Artistic Director Joe Lauderdale asked him to come on board.

“The idea of doing a Durang play was inspired by our Assistant Artistic Director Hillary Pearson,” Lauderdale stated. “We all agreed that any Durang is perfect for No Square. While we can be traditional with our shows, we also like to step away from that to give our audiences a chance to experience something new.”

Lauderdale also explained that Durang isn’t produced as much anymore, so it’s a great time to reintroduce audiences to him.

“His wacky sense of humor and the off-kilter worlds he creates are very much a No Square brand as well,” he added.

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“Baby” tells the story of a neurotic writer named Helen and her alcoholic husband, John. The couple have a baby whom they name Daisy without knowing the baby’s gender because they can’t be bothered to check their anatomy. To say Helen and John aren’t good parents is a drastic understatement. The environment Daisy grows up in is chaotic and abusive, leaving much to work out in therapy in the second act.

Durang’s humor is no-holds-barred and dark.

“Nothing’s sacred. Absolutely nothing is sacred,” Oakley mused. “I just love the combination of outrageous, horrible things that he makes incredibly funny combined with just the absolute unexpected.”

Lauderdale realizes this production is a risk.

“We are first and foremost storytellers,” he explained. “Sometimes our stories may make people feel uncomfortable or offend them. The entirely unqualified parents in this may offend with their actions, but that’s what theater is all about. Hopefully, it can enlighten as well.”

Oakley agrees and thinks provoking emotions is a big part of what makes theater a unique art form.

“I think that real satire is born of outrage,” he explained. “Real satire has a point of view. Durang is making a really biting commentary on how messed up people can be, how their lives can be at a disadvantage because of their upbringing. And what’s so remarkable about what he does is that he can make this commentary in such an incredibly entertaining way.”

Despite Durang’s over-the-top and absurd comedic style, it was very important to Oakley that the actors approached the text from a grounded, truthful place. Even his Norman Rockwell-esque production design supports this vision. He wants Helen and John to appear normal and be able to function in society while hiding their darker home life.

Oakley cannot compliment his cast’s willingness to play and discover enough. He is able to give them a comedy bit or direction to try. They not only nail it but also expand upon it, making it a true collaborative process.

Oakley and Lauderdale think audiences should see this play because it explores a shared part of our humanity while making you laugh.

“The idea of identity is something that is very universal. Discovering who we are is all part of our process as we age,” Lauderdale mused. “This play reveals the story of how one person’s identity is different from what they have been told and grows to understand and accept their true identity. At the moment, there are marginalized people who are being told their identity is not real. But no one, not our parents or our society, has the right to tell us who we are.”

Oakley agrees and believes that, for some, it may make them leave the theater with a feeling of gratitude.

“It’s a play you’ll relate to. It’s a play that will make you laugh. It’s a play that will make you feel that no matter how off base you thought your parents were, no matter what flaws you thought your parents had, you’ll probably want to send them an appreciation card after you see the show, and we should probably sell them in the lobby,” he concluded.