Chatillion Stage Company’s “Tech Support,” currently running at 59E59 Theaters, begins with the play’s protagonist Pamela Stark (Margot White) frantically pacing around in her West Village well-appointed apartment as she remains on hold waiting for tech support for her malfunctioning printer. Pamela deals in antique books and when she finally reaches tech support, she tells Chip, “I need to pack these invoices with the antique books I’m shipping today – also there’s this weird sound.” Pamela is not tech savvy – she cannot even operate her one-cup coffee maker. Nor has she been terribly man savvy. Her ex-husband texted her the divorce papers (ironically) and she is glad to have tech-Chip to talk to even though his male voice “is outsourced” (One cannot make this up – nor the apparent fact that Chip’s “East Indian accent” is provided by a white actor.)

Pamela’s conversation with Chip gets cut short when he begins to transfer her call and suddenly a different tech support voice offers her a menu of time travel options: for example, “For 1998 press 1 now, for 1919 press 2 now.” Pamela presses somewhat randomly and begins her trips back in time. The protagonist’s time travel from the New York City of 2020 to the same location in 1919, 1946, and 1978 ostensibly addresses a range of issues: suffrage; enfranchisement; a woman’s right to choose; equality in the workplace, in relationships and in politics; independence; and the Equal Rights Amendment. Each of these important issues is handled not only glibly but in a highly charged didactic style. Pamela manages to help someone during each “stop,” even falling in love with a different Chip (Ryan Avalos) eventually leaving him behind as she hopes to get back to the present where predictably she hopes to find help for herself. Knowing whether she goes forward in time or back to Chip would require a spoiler alert.

Throughout this endeavor, Ms. Whitfield piles one cliché atop another, fails to provide any satisfactory humor, and corrals actors into prolonged dance sequences (to provide for the longer scene and costume changes), all in an apparent effort to dramatically “explore the female experience.” If this vague phrase is meant to include ‘feminism’ or ‘feminist theatre,’ the play addresses neither and, in at best an ephemeral manner, proffers only issues of equality and human rights that have affected women globally for decades. The thought that in 1919 two women could not engage in a romantic relationship is held in disdain by one of the characters. Apparently, Ms. Whitfield is not aware of the active lesbian community at the beginning of the 1900s. Unfortunately, the playwright offers no new solutions or insights into these important issues for women and for their causes of freedom.

Natalie Taylor Hart’s stunning but cramped set design leaves little room for movement or backstage access. The members of the cast make their entrances and exits through the same door that serves as the entrance to Pamela’s apartment in the 21st century and other time-travel portals. Ms. Whitfield chooses to direct her play with less than successful results. Even the qualified cast of five (Mark Lotito, Laurel Friedman, and Leanne Cabrera in addition to Ms. White and Mr. Avalos) cannot be expected to develop authentic characters from the playwright’s flat characters written with predictable or implausible conflicts.

This critic has not had the opportunity to see or review previous Chatillion Stage Company productions; however, “Tech Support” – despite its well qualified and talented cast – barely rises above the rigorous and well-established standards for community theater.