Our Mothers' Daughters - Hen and Chickens Theatre

“To difficult and brilliant women who persist, keep being bloody difficult”

Sarah Tara Ray's debut play, Our Mothers' Daughters, follows The Artist (LJ Williams) and her two roommates Billy (Sarah Tara Ray) and Kat (Natasha Mula) as they deal with the difficulties that come with being a woman in her twenties. It is a stunningly relatable story, with every character representing a wealth of different obstacles women could face, and handling every one with class. It is also a political commentary on the way women are still being treated by men in the 21st century, with our bodies still being used as vessels without a second glance as to how this could affect us. It is sickening, and it has very real impacts on our everyday lives.

Williams' character is an artist grappling with self-discovery through her sexuality when she unexpectedly becomes pregnant. Mula's character, recently engaged, is relishing the prospect of settling down after years of envisioning it in her previous relationships. Ray's character completes the trio as the comedic sidekick, feeling stuck in a cycle of dating men who are not worthy of her because she doubts she can find someone better. Each woman's story feels distinct yet deeply intertwined, and watching their dynamic unfold is one of the production's greatest pleasures. Together, they form an incredible trio, evoking both laughter and tears from the audience.

The writing has an intimate tone; as the playwright describes it, the play is a love letter to the incredible women in her life. Similar to works like 1536 and John Proctor is the Villain, it is evident that female writers are particularly adept at crafting such narratives. They manage to convey a political message without being overbearing, and maintain a personal touch without being intrusive. The result is a piece of theatre that feels both urgent and deeply human.

Photography: Luke Martin

My personal favourite was Billy, who always seems to have something witty and oddly comforting to offer. Ray has a natural ability to inhabit a character like this, and a single look from her tells a thousand words. There is a warmth to the way she carries the role that stops the comedy from ever feeling lightweight, grounding the play even in its most absurd moments. Her performance was one of the most exciting things to watch on stage.

The direction by Hanna Berrigan was largely on point, and particularly impressive was how effectively the limited stage space was optimised to encompass a range of locations, from the flat to the underground to the bar, each feeling distinct without ever overcrowding the stage. The transitions between them were handled with real confidence. The one minor stumbling block was the handling of the flat door. It is such a small detail, but the time spent opening and closing it put a slight dent in the pacing at an otherwise well-managed production.

Our Mothers' Daughters is rarely comfortable, and that is entirely the point. It sits with you in the way that only theatre about women, made by women, tends to. Sarah Tara Ray has written something that feels lived in rather than constructed, and that is not as easy as she makes it look.

Production Value: 90%

Value for Money: 100%

Personal Enjoyment: 90%

Overall Score: 93% - ⭐️⭐️⭐️⭐️⭐️ (5*)

(AD | Ticket gifted in exchange for an honest review)

Show Information

Venue: Hen and Chickens Theatre, London

This show has played its final performance (30th May 2026)

Run Time: 1h40min - including an interval