Unrealistic Situations Rock the ‘Cradle’

If you’re writing a story for the stage about expectant parents who get disturbing news from their amniocentesis report, you’d better figure out how to make your script a play instead of a teleplay. The subject seems so TV-movie-ready.

So, for that matter, does the treatment of that subject in Doug Haverty’s “Come Baby, Cradle and All,” at Theatre West. For most of its length, Haverty makes very little attempt to tell his story in distinctively theatrical terms. Only near the end, when a hospital patient enters a brief fantasy sequence, does the script transcend a tone of earnest realism.

The agony of the situation in which Shannon (Arden Teresa Lewis) and Yale (Kevin Symons) find themselves is evident here, but it’s not deeply felt. No one approaches it from an unexpected angle or says anything that sheds new light.

In fact, part of the agony stems from the fact that everyone around the central couple appears to be just as indecisive as they are. Out of respect for their delicate position, no one in their circle of family and friends is willing to thrust his or her opinion forward in an aggressive way. At virtually the last minute, one minor character does come forward with previously undisclosed, strong feelings on the subject of whether to abort, but this character is so subsidiary that she’s very easy to dismiss.

Shannon’s widowed mother (Lee Meriwether) has yearned for a grandchild but has seen her daughter go through previous miscarriages. So when the amnio results come back, she becomes a model of discretion and support.

Shannon’s gay brother (James Gastineau) is slightly more opinionated but manages to keep his mouth shut whenever he’s around his sister. Her colleagues at work (Mindy Brandt, Julie Daniels, Rebecca Lane) don’t know about the dilemma at first, then find out about it somewhere offstage and, natch, don’t say very much beyond “we’re there for you if you need us.” All of this tolerance and accommodation makes for precious little drama.

Likewise, Haverty has missed the drama in the couple’s decision to reverse their earlier stance against even taking an amnio. Suddenly, they’ve taken it--with no scene illustrating how or why they changed their mind.

John Gallogly directs a cast that’s capable enough but hasn’t found a way to make this wan script come alive. Eric Bikales’ bland incidental music, which sounds as if it were written for a TV soap opera, is no help.

*

* “Come Baby, Cradle and All,” Theatre West, 3333 Cahuenga Blvd. West. Thursdays-Saturdays, 8 p.m.; Sundays, 3 and 7 p.m., except May 14, 3 p.m. only. Ends May 21. $15. (323) 851-7977. Running time: 2 hours.