The entrance to the Boston Playwrights' Theatre could be an omen for "The Maternal Instinct." The narrow alleyway-type ramp next to McDonald's leading to plain gray doors is a bit unusual, but one still expects to enter a normal theatre. Similarly, the stark set of "The Maternal Instinct" is unexpected, but the play seems promising anyway.
Unfortunately, this production just does not deliver. The play cannot rise out of its own obscurity. Karen Woodward Massey plays Lillian, an MIT scientist who is working with her friend Fred (Stephen Cooper) on a way to turn the maternal instinct on and off. However, this research is
completely absent from the play. Lillian is essentially married to her work and to her liquor.
Meanwhile, her wife Sarah (Alisha Jansky) realizes that she needs to get pregnant at any cost in order to feel fulfilled. This struggle to have children against Lillian's wishes creates the tension that is the foundation for "Instinct." In fact, not much else happens besides this long, drawn-out conflict that gets stretched in every direction.
Upon entering the theatre, one immediately notices the coziness and intimacy of the small performance space. However, the set seems to be missing a few items. Apparently, the window frame with the attached curtains at the back of the stage is supposed to represent the rear of Lillian and Sarah's apartment, although few audience members would ever confuse the enormous black curtain covering the back wall with the outdoors.
While having the apartment and the park on stage at the same time seems awkward, this technique works well for the production. The green lighting works in creating a grass-like floor in the park scenes but is not as good a fit for shining on the actors - Cooper's silvery hair takes on a green tint. The set uses small props effectively: The books and birthday presents strewn across the coffee table are very realistic.
Especially in the beginning, the acting is too exaggerated and forced. As Sarah, Jansky is a slightly more emotional actor than Massey is as Lillian. Cooper's character Fred shows no other facial emotions besides confusion, but he is likable nonetheless.
As Emma, Rena Baskin is the most realistic actor, although she seems rather old to be Lillian's sister. Elise Audrey Manning is convincing as Terry, the homeless girl. However, the scenes with her are nonsensical and strange at first. While they eventually all tie together, using a different device to reveal the same moral would have been highly preferable.
Fortunately, some of the scenes contain amusing subject matters. Natural humor in the dialogue and music selections helps to support these moments. However, some awkward word choices are added to force in more humor that just falls flat.
Eventually, the audience grows tired of even the most entertaining scenes because they are drawn out so much. Then, when each scene finally grinds to a halt, the next one (which is completely unrelated to the previous scene) just jumps in without logical transition. Lillian's confession to Emma is the only scene that uses the gradual technique properly. In this moment, the audience is engaged and intrigued when the truth slips out smoothly.
Another interesting technique is Lillian's talking directly to the audience. Once again, the viewer is interested until the scene becomes never-ending. Each scene goes on a tangent to attempt to reach some sort of revelation, but by the end, the audience stops listening.
Unfortunately, the play ends right at the most powerful moment and does not allow for conclusion. In other stories, this technique might be thought-provoking. However, in a play that has been dragging all along, one just concludes that he doesn't care what happens next.
