Jessie and Lina are neighbors. Both have newborns. Jessie spots Lina at the grocery store, and invites her over. There is no patio furniture so they must share a slide for toddlers. Each carries one of those remote nanny gadgets, ear cocked for the first peep. Lina’s particularly skilled at calming her son from a distance. The two discuss strategies for dealing with regular squalls, and Jessie mentions her doctor, who says: “Let them cry it out.” Lina is appalled that anyone would leave a baby, to weep alone in the dark, till it realizes no one’s coming. She adds that unless Jessie’s doctor has a vagina, he should mind his own business.
Even though it’s plain that Lina is blue collar and Jessie comes from privilege, they bond almost immediately. They share very personal details, finding they have much in common. One day, Mitchell just shows up in the backyard, groping for the words to explain who he is, and what he’s doing there. Apologetically, he tells them he’s concerned for his wife, a new mother herself. She seems profoundly detached and distant. Understanding he’s coming from out of the blue, he asks if Adrienne might join them. He leaves his card, before they can say, “No.” After some rumination, Jessie consents. When Adrienne comes over, she spends all her time answering email. When she speaks at all, she’s brusque and petulant. She storms off, spouting invective. When Jessie expresses genuine sympathy, Lina is aghast.
Playwright Molly Smith Metzler has crafted a cunning, very moving story, comparing the lives of three women, dealing with demands of motherhood. Each comes from a different economic background, with different men, and different aspirations. Cry It Out considers the systemic trap that women must endure, when living in a patriarchy. Certain tropes of female subjugation are so ingrained in our culture, they’re nearly intuitive. Lina deals with these frustrations as best she can. Adrienne is overcome with rage. Jessie is resigned and terribly, terribly sad. Metzler offers a microcosm of American hierarchy without referencing these ideas in so many words. Speaking as an inveterate feminist, diatribe is sometimes appropriate. But what makes this drama so effective, so sophisticated, is how seamlessly, how indelibly Metzler depicts the predicament of three women, who would just settle for some crust of happiness. Certainly the plot stands without further rumination, but the subtext is nearly as salient.
Across the board, the actors (Shea McMillan, Danielle Elliot, Eddy Herring, Haley Ewerz) are impeccable, delivering poised, dedicated, touching performances. Director Carol Rice orchestrates a pitch perfect show, that balances tone, content, pace with intelligence and mastery. This is a powerful, compelling piece. Let it be next on your list.
Rover Dramawerks presents: Cry it Out, playing June 17th-26th, 2021. The Core Theatre: 518 West Arapaho Road, Richardson, Texas 75080. 972-849-0358. www.roverdramawerks.com