Scholarly attention given to Paula Vogel's 1984 play And Baby Makes Seven is scant in comparison to The Baltimore Waltz (1992) and How I Learned to Drive (1998). And Baby Makes Seven also has a tenuous relationship with popular reception because the play's meaning has been lost on—or at least its significance diminished by—a majority of critics. As a rejoinder to these circumstances, this essay adds to the persuasive analyses of And Baby Makes Seven offered by Joanna Mansbridge and David Savran, and seeks to celebrate and clarify a controversial and often misunderstood play. The essay offers a critical analysis that illuminates additional meanings by employing a range of critical theories. By drawing on the work of Jane Ward, José Esteban Muñoz, Sara Warner, and J. Jack Halberstam, the essay posits Vogel as an early architect of theories on queer utopia, especially those relating to relationality and queer families.