In 1960 the famed “Mercury Seven” trained at NASA to become the first American astronauts. But they weren’t alone. Thirteen women also underwent the same rigorous psychological and physical testing. “They Promised Her the Moon,” is a compelling play that tells the unknown, true story of Jerrie Cobb, a pioneering female aviator who broke barriers in the male-dominated field of aviation. Although she out-performed her male counterparts it was Alan Shepard and John Glenn who went on to become household names. Jerri Cobb never got that chance.

The script, written by Laurel Ollstein and directed by Katie Preston, explores Cobb’s ambition to become an astronaut. As she navigates her aspirations, the play delves into themes of gender inequality, ambition and the personal sacrifices she makes in pursuit of her dreams. Here is a portrait of a woman who, unjustly overlooked, became a skilled aviator, world-record-holding pilot and spy despite the limits imposed on her by powerful forces that kept her from reaching orbit.

It is not surprising that the Barker Playhouse has chosen this production as the opening of their 116th season with a general election soon to take place and a woman who is currently a candidate for POTUS. Its themes could not be more current.

Katie Preston directs this production with a spare and unobtrusive set by Ian Hudgins. The action is in front of a large, back-lit, upstage screen with changing color to indicate specific locations (corn field, sky, etc.) and a good lighting design by Maria Venturelli. There are several, layered platforms on stage and additional layers added onto the front of the proscenium for various scene/character placement. Katie Preston’s direction provides an effortless flow of action.

The ensemble is excellent; each actor depicting several different characters.

Lydia Johnson, in the role of Jerrie Cobb, has a wonderful monologue at the top of the show, which sets the play’s tone. However, she delivers it almost entirely in the dark. Maybe this was a missed lighting queue, or Johnson did not hit her mark. Johnson, as Jerrie Cobb, is solid on delivery and she is a solid actor as well. However, in this critical role, it is important to see some change from Jerrie-the-wall-flower with a speech impediment, to a woman who becomes an aviator of renown, global importance. There was no arc to this character or in the overall production especially since the end of the script is vague, which may have contributed to the lack of arc. This leaves the audience wondering where did Jerri Cobb land and what did she do for the rest of her life? Cobb was a real-life CIA spy, but no mention of it in this script.

Marcia Layden plays a splendid archetype as Helena Cobb, Jerri’s mother. Layden impresses as a bible-thumping matriarch with an iron fist on the household. Helena firmly believes that a woman belongs in the kitchen attending to her husband and children and baking pies. Helena’s reign includes that of her husband, Harvey Cobb, played by Charlie Sweigart. Sweigart’s Harvey Cobb is both supportive of and empathic to his daughter’s dreams, as he himself is an aviator. Both Harvey and Jerri are frequently harangued by Helena, Harvey for his drinking and Jerri for her ambitious goals. Sweigart has a complex role in Harvey Cobb, and a change from boozily sweet, to something more disquieting would have given some bulk to this character at the play’s conclusion.

It is Nancy Winokoor in the role of Jackie Cochran and Terry Shea in the role of Dr. Lovelace who shine it this production. Winokoor takes the bull by the horns with a convincing depiction of the famous and wealthy Cochran, a world record-holding aviator, who created WASP (Women Airforce Service Pilots) during WWII. After the war, Cochran threw herself into creating the first team of women to become astronauts. Cochran used both her political pull, and her lucrative purse; through marriage and as the CEO of a famous cosmetic company, to pursue this groundbreaking movement at NASA. Winokoor takes the stage and never lets go of it!

Terry Shea as Dr. Lovelace is completely believable as the data driven, detail-oriented scientist who is tasked with measuring and recording every exam and test to assess whether women qualify as astronauts. The banter between Cochran and Lovelace is worth the price of the ticket. Theirs is a long established, love-hate relationship filled with cryptic, verbal jabs. They both convince Jerri Cobb that she will take her place as the first woman astronaut in the United States. Although they outperformed their male counterparts, when the social/political/gender wars in Congress and at NASA raised their ugly heads, both Cochran and Lovelace, packed it up to save face leaving Cobb both disillusioned and unfulfilled.

As a helpful note, there are small, staging details that could use some improvement. The rises on stage right and left (closest to the end of the stage) inhibited ease of movement. Shifting them closer to center may avoid this. It was especially noticeable when the character of Jackie Cochran moved about the office of Dr. Lovelace or during the Congressional hearings. The height of the rises made for a few awkward exists and entrances. The taped recordings were difficult to hear, particularly in the end.

As a play that mirrors the contemporary struggle for gender equality, this is a play worth seeing and a story worth hearing.

Where:   The Players, Barker Play House
400 Benefit St., Providence

When:    Friday – Saturday, Sept. 27 & 28 and Oct. 4 & 5 at 7:30 p.m.
Sunday, Sept. 29 & Oct. 6 at 2 p.m.

Tickets: 401-273-0590 or playersri.org