Baby, He Loves You review – the patriarchal power beneath the perfect wedding

Stage@TheDock, Hull
Jodie and Mike are getting married with all the familiar trimmings – wayward stag night, last-night jitters, irritating in-laws – but Maureen Lennon calls out the hidden misogyny

They have pulled out all the stops for the wedding of Jodie and Mike. Inside the dockside marquee are pretty pink tablecloths, strings of lights and hoops of carnations. The guests get raffle tickets and “just married” Love Hearts. The bride looks dreamy in white and with any luck no one will notice the bridesmaid has gone awol.

You will have attended just such a union of young professionals yourself. You will recognise the groom’s wayward stag night, the bride’s last-minute jitters, the father’s pride, the mother’s sentimentality and the irritating habits of the new in-laws. All are duly ticked off in Maureen Lennon’s play for Middle Child, along with the engagement party, the boozy dress fitting and the heart-to-hearts with the bride’s raucous best friend.