Taking on multiple roles including nannies, moms, gay parents, grandmother, and the owner of a nanny service company, Ramirez explores the complicated dynamics and class issues that arise when wealthy mothers delegate most or all of their child-rearing responsibilities to full time hired help.   The moms are too busy with their professional and social lives or are just too self-involved to spend enough time with their kids to bond and capture the significant moments of their  development – it’s “quantity time, not quality time”  that is needed we’re told.  One mom laments having to watch her baby’s first steps on video tape shot by her nanny.  A grandmother complains she has to set up a play date with the nanny two weeks in advance just to see her grandchild.  The nannies come from San Francisco, the Caribbean, Ireland, and Eastern Europe but remain faceless to their employers who even delegate the job of

screening, interviewing, and selecting their child’s caretaker to “a professional.”   The results are not surprising but what makes Exit Cuckoo work is the juxtaposition of these characters and Ramirez’ ability to quickly slip in and out of their divergent personae.  Although not flawless, she transitioned easily and convincingly so it was not difficult to follow the action.  Part of the credit for this goes to director Colman Domingo (who was excellent as one of the ensemble in Passing Strange).