Jennifer Blackmer

Lessons impact more than students in ALT drama

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

Home Economics education was a normal part of growing up female in America for most of the 20th century. Colleges took it a step further with degree programs and entire departments so that ambitious ladies could get socially acceptable careers in fields like foods and nutrition or education, or to just become more knowledgeable housewives.

In “Borrowed Babies,” the drama by Jennifer Blackmer presented by American Lives Theatre, an enterprising professor at an Indiana college creates an innovation within that system.

In 1952, Judy London (Jen Johansen) starts her “Home Management House” where four senior Home Ec majors will reside while taking on practical projects in aspects such as cooking and sewing. For them to better understand infant care, Mrs. London has arranged for an actual one-month-old from the local Children’s Home, who will live with them throughout the semester.

In 1982, the program has been inactive for over a decade and the House, where Mrs. London still has her office, is about to be demolished by the University to make way for new construction. Assisted by distracted student Shelly (Rachel Ivie), they are packing up accumulated paperwork and records when a 30-year-old woman (Lauren Briggeman) arrives, insisting on speaking with the professor. Wendy, they discover, has been here before.

On a singular stage set, designed by Nick Kilgore, we witness both eras. Bridget Haight’s direction, lighting design by Paully Crumpacker, and the skill of the cast – especially Johansen – make the story’s constant flow between these periods natural and easy to follow.

In the ‘50s, we get to know the four students: Vera (Hannah Luciani) is an honor student, eager to please. Louise (Carmia Imani) is ambitious, her eye on both a career and a certain young man, though she is regarded as the group’s worst cook. Betty (Dorian Underwood) is bright and upbeat with dreams of making it in the New York art scene. Bernie (Sarah Powell), daughter of a former “Rosie the Riveter” and an overbearing father, enjoys fixing things – however, she resists helping to care for the baby, as she doesn’t plan to have one of her own.

Julie Dixon plays Mrs. Rose McGuinness, a social worker with the Children’s Home.

Blackmer, a Professor of Theatre at Ball State University in Muncie, based this play on a past program of “practice houses” there. Having this grounded in a real mid-century experiment, done with the best intentions but a more ends-justify-means standard of ethics typical at the time, makes this drama even more fascinating. It also gives a glimpse into the lives of women college students who must reconcile unlimited potential with limited opportunities.

In addition, this production gives us the pleasure of seeing two of Indy’s best actors, Johansen and Briggeman, go toe-to-toe in a battle of wills. Those playing students also get moments to shine, especially Powell in her deeply conflicted role.

Class is in session, with lessons that ask hard but important questions. “Borrowed Babies” runs through Feb. 22 at the Phoenix Theatre Cultural Centre, 705 N. Illinois St. in downtown Indianapolis. For tickets, go to phoenixtheatre.org.

ALT: The long laborious birth of a vital test

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , ,

By Wendy Carson

The Home Pregnancy Test – it is so ingrained in our lives now that you can even buy one at Dollar Tree. However, it was not so long ago that it was created. Prior to this, women had to go to the doctor and not only convince him to test her but also wait about two months for the result.

American Lives Theater launches the world premiere of the play “Predictor,” by Jennifer Blackmer. It tells the story of Meg Crane, the woman who not only saw the flaws in the current system but also persevered to develop the first-ever home pregnancy test.

As is the case with so much of women’s medicine and discoveries, Crane’s name is mostly lost to history. Blackmer delves into the intense, sexist struggles of one woman who knows what she wants and fights the misogynist barriers thrown up against her every effort.

Brittany Magee embodies Crane as a sweet, yet determined woman who is in no way going to allow her voice to not be heard. She sees that the test, previously confined to laboratories, is actually very easy and develops a simple, convenient package for it out of a plastic paper clip holder. All the men she must deal with constantly rebuff this design – declaring she has no idea what women want.

While the rest of the cast play multiple roles and are referred to in the program book as Chorus # 1-6, each is excellent and does embody at least one prime role within the story which I will use to summarize their efforts.

Christine Zavakos plays Meg’s roommate Jodie, an artist and free spirit constantly encouraging Meg to stand up for herself and fight.

Jen Johansen flows between Meg’s mother and coworker. She portrays the lack of knowledge the generations before her were given regarding their own bodies as well as the fears of this newer generation’s need to change things.

Miki Mathoiudakis superbly brings Meg’s grandmother to life with her even more primitive knowledge of sexual behaviors and morality.

Zack Neiditch not only brings us a charming game show host but also the head of the company Meg works for who at first has no time for silly lady things.

Drew Vidal embodies the most toxic example of male ego in the show. He gives us an advertising executive who sees Meg as nothing more than a secretary who knows nothing about business or how to “play the game” and torpedoes her every attempt to prove herself.

Clay Mabbitt gives us the snarky superiority of the lab tech who insists only a (male) lab tech could possibly check the test results (because looking in a mirror for a circle in the bottom of a test tube is a difficult job). This is balanced by his portrayal of a more insightful executive in the company’s marketing department.

This show is Bridget Haight’s directorial debut, and she has done a great job of bringing us the story of a woman’s perseverance in the 1970s world of business (like a more-sexist “Mad Men”). The story is a vital piece of women’s history that was destined to be lost as Crane was only given a patent on her test design. The actual test itself was sold to another company, which sat on the rights to it for ten years before it finally made it to the market, the corporation taking full credit for introducing this important tool for women’s health.

Performances run through May 28 at the Phoenix Theatre Cultural Centre, 705 N. Illinois St., downtown Indianapolis. Get tickets at phoenixtheatre.org, or americanlivestheatre.org.

Note that this weekend, the real Meg Crane will be in attendance. She will be part of a pre-show program 6:30 p.m. Saturday, May 13, as well as “Mom, Mimosas and Meg” for Mother’s Day, May 14, available for questions after the performance.