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Theater review: 'Baby' comes straight (more or less) from the heart

Jobsite Theater

Alison Burns, David M. Jenkins and Jessica Rothert star in Jobsite Theater's production of "And Baby Makes Seven."

By KATHY L. GREENBERG | Tribune correspondent

Published: September 30, 2009

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"And Baby Makes Seven" has been billed as LGBT entertainment, and perhaps in 1984, when Paula Vogel wrote the play, it was. These days, however, the material transcends alternative-lifestyle groups or movements, appealing to a much broader audience with its global themes of love, family, parenting and responsibility.

Jobsite Theater produced this little gem and, boy, did they get it right. With three super-talented actors and director Karla Hartley at the helm, this is one of the best shows of the season.

"And Baby Makes Seven" requires a suspension of disbelief and a phone call to your inner child. Once that's done, it's easy to accept the three imaginary characters that lesbian couple Anna (Alison Burns) and Ruth (Jessica Rothert) invent and incorporate into their everyday lives.

Twenty-something Anna nurtures Cecil, a precocious little boy who heads the pack of two that Ruth has created: Orphan, the feral child raised by dogs at the Port Authority, and Henri, the French kid from the 1956 movie "The Red Balloon." Between serious, grown-up conversation, Cecil, Henri and Orphan come out to play. They make potty jokes, roughhouse, express childish insights and pull silly pranks.

None of this would be quite as odd if Anna weren't pregnant by their gay roommate, Peter (David M. Jenkins). Peter is concerned that a level of maturation should be reached before the child is born. So Cecil, Henri and Orphan have to go. One by one they are "killed off," much to the chagrin of their makers.

Vogel presents a literal conception of make-believe. To Anna and Ruth, and even Peter to some extent, these children demand as much respect, care and attention as any real being. At one point, Anna tells Peter not to be afraid to play with his child. This poignant statement, plus the final act, supports the play's message that you don't have to dismiss a part of yourself to make room for something or someone else.

Rothert was absolutely fantastic as Ruth/Henri/Orphan. Her exaggerated French accent and childlike mannerisms (especially when eating a peanut butter and jelly sandwich) were hilarious. Burns, as usual, lit up the stage with her expressive face and comedic timing. And Jenkins, a big kid in his own right, was a perfect new father — concerned, scared and joyful (just don't let him handle a real baby).