Jessica Huang’s play, The Birth of the Pill, premiered at TimeLine Theatre, engaging with the portrayal of oral contraception’s history. Rather than directly adapting Jonathan Eig’s well-known book, the play critiques how Eig told the story. Huang critically examines key figures such as Margaret Sanger, the founder of Planned Parenthood, Katharine McCormick, the philanthropist who funded the research, and scientist Gregory Pincus who worked with Min Chueh Chang and John Rock to develop the contraceptive.
Huang raises concerns about Sanger’s documented interest in eugenics, a belief widespread among early 20th-century progressives. Testing the pill in low-income areas like Puerto Rico’s Río Piedras is highlighted. Women, seeking contraceptive solutions, received high experimental doses of progesterone and estrogen, harming their health. This led to the deaths of three women during trials, conducted without informed consent according to some historians. Huang features Ramona Delgado, who is portrayed by Maria Victoria Martinez, as the play’s narrator, centering the narrative on her perspective.
The play questions Eig’s portrayal, even featuring him in an apologetic scene. The production challenges the elite dismissal of trial side effects, considering racial and elitist bias. Huang’s questioning of Eig and Sanger’s roles aligns with Planned Parenthood disavowing Sanger in 2020, sparking controversy.
Artistically, the play presents its viewpoint clearly but risks becoming predictable, leading audiences to expect demonstrations of racist or elitist attitudes from white characters. This predictability sometimes seems unfair, especially given the era’s context. Huang intends to explore the pill’s complexities but may skew the narrative.
The production, led by Sandra Marquez, contains self-reflective elements that detract from the historical focus. It suffers from pacing issues, with humor overshadowing the reality of the pill’s impact on women’s lives. The complexity of such innovations should be embraced to capture the multifaceted changes brought by the pill. Historical events often evoke mixed legacies as perceptions evolve over time.
Concluding this experience, the play suggests that Huang, a talented writer, might benefit from creating her own narrative on the pill instead of adapting a work she critiques extensively. Adapting contrasting viewpoints can appear misleading to audiences.
Chris Jones, Tribune Critic. Contact at [email protected]
Review: “The Birth of the Pill” (2.5 stars)
When: Through Oct. 4
Where: TimeLine Theatre, 5035 N. Broadway
Running time: 1 hour, 45 minutes
Tickets: $65-$100 at timelinetheatre.com
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