12 Oct 2025
Deborah Heath is at the Abbey Theatre Studio for the Company of Ten’s latest production…
The first play in the Abbey Studio this season is an absolute corker! ‘The Harmony Test’ by Richard Molloy, which only premiered last year at the Hampstead Theatre, is an acutely well observed relationship drama which will at times have you roaring with laughter and then quickly on the verge of tears.
A Harmony Test is a non-invasive procedure used in early pregnancy to detect foetal abnormalities and genetic disorders.
Director Phil Reardon explains: “It also acts as a powerful metaphor for relationships. Just as the medial test looks for hidden imbalances, Molloy’s play scans the delicate strains of marriage.”
The script does this via two couples: Zoe and Kash who are 30-somethings struggling to conceive while Naomi and Charlie are empty-nesters trying to adapt to the new normal and working out whether there is anything left of their marriage. There are so many points of identification in this play for audience members of all ages and some cracking lines
“I want a dog. I need something to love.”
“You can love me.”
“I can’t love you; you’re my husband.”
The play gets off to a strong start as Zoe (Claudia Crowther) conducts what is basically a business meeting with Kash (Sami Dean) for Project: Pregnancy.
Kash’s bewilderment at their conception timetable or “fertility plan” is hilarious. It was lovely to see two newcomers to the Abbey stage – they were both impressive and I hope they will go on to do more shows. Both handled the comic moments very well especially the hilarious fertility ‘supplement’ issue.
Noelle Judson as Naomi and Keven Broadfoot as Charlie gave a convincing portrayal of a long-married couple at a turning point. Harry Johnson as personal trainer Rocco was also believable in his role as well as being bold enough to carry off the costume choices!
As ever from Company of Ten, design and technical features were expertly executed. The sound and soundtrack were well managed by Mark Spinks. Phil Spurr’s lighting was perfectly unobtrusive. Enas Barakat designed a kitchen set which was appropriately trendy for this young couple. I loved the sideboard which I think might have been cleverly refashioned from the kitchen of ‘The Unfriend’ last month! Costumes (Katherine Reeve) and props (Nicki Marriott were spot on and complemented the authenticity of the piece.
A shout out too to the stage management team, headed by Helen Miller who managed the scene changes with finesse.
The play was staged in the semi-round and had been carefully directed so that sight-lines were always well considered. However, I do feel that the whole space could have been used more as much of the action was set at the very back. When the front half was used, it was done well. The fight scene, arranged by Robert Bartlett, was outstanding and a great example.
There are many moments of brilliance in this play but for me, the first half of Act II was the highlight with some beautifully nuanced reflective moments between the two women and then the three men.
It was very clear throughout that director Phil Reardon (assisted by Jose L Jimenez) had a deep appreciation of the script. He was able to use this understanding to draw out the very best from his hard working cast. The result was a highly considered and relatable play that kept people talking after they left the auditorium. There are some huge issues at stake here and I always appreciate a play that leaves me thinking. In this case I am thinking that I’m a little bit jealous of Richard Molloy for writing something so brilliant.
The intimate space of the Abbey Theatre Studio is the perfect environment for this piece. It enables the audience to feel fully immersed in the private lives of the characters and take a hard look at ourselves and our own values. Huge congratulations to Phil Reardon and the whole team for this outstanding piece of theatre.
