“Motherhood Out Loud” opened at Lincoln Theater last weekend to sizable crowds. This is the first time this play has been produced in Maine. The piece, conceived by Susan R. Rose and Joan Stein is a series of vignettes by 14 authors.
“Motherhood Out Loud” celebrates the unexpected aspects of being and becoming a mother. Everything.
From the first set of vignettes, to the last heart-touching monologue it skims over those things no one warns about: pushing that baby out with the last bit of strength, crying babies and advice from parents
The subtitle “What mothers think … uncensored” may be a bit of a reach. The uncensored bits are the dropping of the “f”-bomb here and there.
The rest of the subject matter is neither unexpected nor shocking, but presented with aplomb by the cast of five.
The set, spare and elegant, makes great use of the projection screen to change the mood of the scenes.
In “Stars and Stripes” by Jessica Goldberg, Laurie Brown tears at the heart with her tale of a son deployed and the awful fantasies that come with such a separation.
Brown, sitting on a stool in front of a giant silhouette of a young soldier, delivered her piece without overt histrionics, which is as it should be, as mothers keep those fears for the dark of night.
The truth of the piece struck at the heart of one parent in the audience. “I had to hold my breath during her nightmare,” said Jessica Miller, mother of a deployed soldier in Afghanistan. “I’ve had that dream.”
Stephen Wallace plays all the men in the piece. As a dad facing a store Santa in “Where’s Her Mother,” he delivers the rebuttal with grace and honesty.
In “If we’re using a surrogate, how come I’m the one with morning sickness” by Marco Pennette, Wallace shows promise for many future theatrical ventures.
One hopes to see him in roles that stretch past what might be expected. He exhibits an understanding of his characters that make them real to the audience.
Paul Jefferson, visiting from Boston, had his mother with him. “I laughed so loud that I clapped my hands over my mouth,” said Jefferson. “It was so real, especially about the questions people ask.”
Ann Foskett, ever elegant, is a delight in “Fast Birth Fugue” by Michelle Lowe. Foskett, with impeccable timing, graces all four fugues.
In “Report on Motherhood” with Brown, she is a great-grandma helping a 12-year-old with a school assignment.
Beth Henley (“Crimes of The Heart”) wrote this, the best of the comedic pieces offered. Foskett, grilling the 12-year-old about condom use, is simply a hoot. Brown’s retort, “I’m 12” draws a look that is classic Foskett, conveying both “and?” plus “so what?”
Natasha Salvo is honest and true in “Michael’s Date” by Claire LaZebnik as a mom driving her differently-abled son to his first real date. She shows all the anxiety and pride of a woman who never expected this day. Love flits across her face as he tries to “help.”
Salvo invariably brings her own strength to her work onstage, as evidenced in “Nooha’s List” penned by Lameece Issaq.
Jennifer True delivers a star turn in two particular pieces. In “Queen Esther” by Michelle Lowe, the mom has a young son who wants to dress as a brave queen at a religious event. She supports his choice to wear a dress. True’s mixed emotions come clearly across the foot lights.
The finale piece, “My Baby” by Annie Weismann, was exquisite. Kudos go to True for her gentle touch. Such a piece can be ruined no matter how lovely the words, if not delivered well. The sniffles of the audience were testament to a job well done.
Directed by John Mulcahy, “Motherhood Out Loud” may not have the most “unexpected” of scripts, but it is a refreshing change from the tried and true. It offers laughs of recognition and moments worth sharing with family and friends.
“Motherhood Out Loud” continues next weekend Saturday May 18 at 7:30 p.m. and Sunday May 19 at 2 p.m.. Tickets are $12 by reservation at 563-3424, or info@lcct.com.
