The first act of Anna Ouyang Moench’s play “Mothers,” directed by Halena Kays in its Chicago premiere at the Gift Theatre, is a sharply written and smartly acted satire of the absurd dynamics that can occur when people who are polar opposites are thrown together simply because their children are the same age. At a Mommy-Baby Meetup, three mothers (Caren Blackmore, Krystel McNeil and Stephanie Shum) clash over discipline styles, work-life balance, breastfeeding and vaccination. Meanwhile, a hesitant father (Alex Ireys) and an enigmatic nanny (Lynnette Li) hover on the margins.
Between their bickering, the mothers snap selfies, pass a hip flask and coo in baby talk — not to actual children but to the teddy bears that stand in for them to hilarious effect. Blackmore, McNeil and Shum have great chemistry and give layered performances that convey the competitiveness of new mothers, the complications of adult friendships and the impact of regional and class differences on parenthood. Their antics take place on a striking all-red set designed by Lauren Nichols, with a pink ball pit centerstage that is just asking to be destroyed later on.
Following early hints that all is not well in the outside world, things take an apocalyptic turn in the second act, which unfolds like a time-warped nightmare. After a militia traps them in the childcare center with little food and water, the five caregivers make increasingly desperate choices to save themselves and their babies. As Gladys, the nanny, takes on a more central role, Li’s character swerves between apparent compassion and terrifying dedication to survival. It’s a haunting performance made even more intense by Josiah Croegaert’s dim lighting and Jeffrey Levin’s eerie sound design.
Structurally, “Mothers” almost feels like two plays — a social comedy and a dystopian horror — spliced together. The first act works well but the momentum lags after that. Playwrights love to drop a pre-intermission bombshell to keep audiences eager for more, and Moench literally gives us one. However, the pacing feels uneven in Act 2, as stakes escalate very quickly within some scenes but the overall progression of time is disorienting. It’s also difficult to maintain an emotional connection with any one character as their shocking actions pile up.
In another example of the disconnect between the two acts, Moench establishes early on that “beige” (white) people are a marginalized group in the world of “Mothers,” but she drops the idea when the crisis hits, and it has no discernible bearing on the rest of the play. Ireys’ character, Ty, is the only beige person in the group, and he faces microaggressions such as comments that it must have been easier to adopt a child as part of a minority couple. Moench’s dialogue cleverly skewers the language of self-declared allies, and these lines get plenty of laughs. But Ty’s character arc in the second act, which is quite brutal, seems more related to gender dynamics than race.
Structural complaints aside, “Mothers” astutely examines the hard realities of parenthood in the face of catastrophe. In the first act, Shum’s character, Meg, declares that she is on a “news diet” because the state of the world is so distressing. Of course, this doesn’t stop disaster from striking at a place where she and her child should be safe. Ambitious lawyer Vick, played by McNeil, hopes that the money she earns will cushion herself and her son in the future, while feeling deep down that she should have tied her tubes. Gladys is devoted to the child in her care, but she also has her own kids at home who need her to survive for them.
This production’s cast and creative team include many caregivers, and it can’t be easy to go to this play’s dark places when the topic is personal. None of the issues I’ve noted take away from the fact that these performances are vulnerable and brave. Plus, the cast’s tonal range is impressive as they descend from comedy into horror.
“Mothers” is running simultaneously with another Moench work, “In Quietness” at A Red Orchid Theatre. Although they’re quite different in plot and tone, both plays explore overlapping territory of gender roles and domestic relationships — particularly as experienced by women. If you’re looking for witty, thought-provoking writing performed by strong casts, these two pair well.
Emily McClanathan is a freelance critic.
Review: “Mothers” (2.5 stars)
When: Through March 3
Where: Gift Theatre at Filament Theatre, 4041 N. Milwaukee Ave.
Running time: 2 hours, 5 minutes
Tickets: $35-$45 at 773-283-7071 and thegifttheatre.org
