Kate Baldwin, Graham Rowat & Caitlin Kinnunen will Lead BABY Concerts
A one-night-only concert staging of the Tony-nominated musical BABY is set to bring a host of Broadway favourites together in New York this March, with a star-led cast announced for the special event at 54 Below. The concert will take place on 17 March, with two performances scheduled for the evening, and will also serve as a benefit, with a portion of proceeds supporting Planned Parenthood.
Leading the cast is Tony nominee Kate Baldwin, who will take on the role of Arlene, joined by Graham Rowat as Alan and Caitlin Kinnunen as Nikki. The trio headline a strong ensemble of performers drawn from across Broadway and contemporary musical theatre, including Abeja L. Barrows, JJ Niemann, and Jordan Kai Burnett, alongside a wider supporting company. The casting reflects a deliberate blend of established and emerging talent, bringing together performers with experience across both classic and modern repertoire.
The concert will be directed by Richard Maltby, Jr., who co-created the musical alongside composer David Shire, with musical direction by Canaan J. Harris. This direct involvement from one of the show’s original creators adds an additional layer of authenticity to the event, positioning it as both a celebration of the work’s legacy and a fresh reintroduction for contemporary audiences.
Originally premiering on Broadway in 1983, Baby features a book by Sybille Pearson and a score by Maltby and Shire, and received seven Tony Award nominations, including Best Musical. While it may not have achieved the long-running commercial success of some of its contemporaries, the musical has maintained a loyal following over the decades, often praised for its emotional honesty and nuanced exploration of relationships.
The story centres on three couples navigating the complexities of impending parenthood, each facing their own challenges, uncertainties, and expectations. Through a series of interconnected narratives, the musical examines themes of love, commitment, identity, and the transformative nature of starting a family. Its structure allows for a rich emotional range, shifting between humour and poignancy as each character confronts the realities of a life-changing moment.
Musically, BABY is known for its expressive and character-driven score, featuring songs such as The Story Goes On, I Want It All, and With You. These numbers have helped sustain the show’s reputation within the musical theatre canon, offering performers opportunities to showcase both vocal and emotional depth. The concert format provides a platform for these songs to take centre stage, allowing audiences to engage directly with the material in a more intimate setting.
The choice of venue also plays a significant role in shaping the event. 54 Below has established itself as a premier cabaret and concert space, known for hosting both established stars and emerging artists in stripped-back, performance-focused settings. In this context, Baby is likely to take on a new immediacy, with the storytelling and music presented in a format that prioritises connection between performers and audience.
Producer Robert W. Schneider has described the musical as “one of the most honest and human” works in the genre, emphasising its ability to capture a moment of profound uncertainty and possibility. That sense of emotional authenticity remains central to the show’s enduring appeal, particularly in a theatrical landscape that increasingly values works capable of balancing relatability with theatricality.
The concert also highlights the ongoing relevance of revisiting and reinterpreting musical theatre works outside of traditional full-scale productions. In recent years, concert stagings have become an increasingly popular format, offering audiences access to both new and existing material while allowing artists to explore works in a more flexible and often more intimate environment.
For performers, such events provide an opportunity to engage with roles and material that may not be readily available in the current production cycle, while for audiences, they offer a chance to experience beloved scores in a fresh context. In the case of BABY, the concert serves as both a celebration of its legacy and a reminder of its thematic resonance, particularly in its exploration of life’s pivotal transitions.
As Broadway and the wider theatre industry continue to embrace a diverse range of formats and storytelling approaches, events like this demonstrate the enduring value of musical theatre’s repertoire. By bringing together a high-calibre cast and creative team, this concert staging of BABY reinforces the work’s place within the canon while introducing it to new audiences in a dynamic and accessible way.
