“I didn’t like her child, actually,” Diana says.

Diana’s off-puttingness is partially strategic; it keeps her safe from the harm that other people might cause by getting close. But her brittle-perfectionist facade conceals a deep well of insecurity and loneliness, and a reserve of compassion that’s more capacious than we’d guess.

Alice, in her flowing peasant dress (costumes are by Linda Cho), is the kind of fluttery, gentle-voiced woman who is routinely underestimated. She’s smarter and more resilient than she lets on, though, and, like Hecht’s terrific performance, admirably sly. A stay-at-home mother with almost zero interest in cooking, cleaning or decorating, Alice is married to Doug, an economist who’s up for tenure at the university and spends the summer buried frantically in his papers. Invested in believing that she’s happy, and that her marriage is, too, Alice looks after Holly, sunbathes in the yard of their modest house and indulges in best-selling paperbacks.

One of those novels, Robin Cook’s “Coma,” not published until 1977, is a slight, seemingly calculated cheat on Auburn’s part in a show that’s otherwise meticulous about period accuracy. (See, for glorious example, Diana’s impeccably turquoise-shadowed eyelids — as well as her hair, styled by Annemarie Bradley, and Alice’s, styled by Jasmine Burnside.)

A medical thriller, “Coma” is also about a woman who enters an overwhelmingly male professional world and faces sexist pushback. Not that the play gets into this; it’s just a signal that’s there for picking up.

But both Alice and Diana, who meet through a campus child care co-op designed by Doug as an economic model, have seen their creative and career ambitions derailed. They belong to a generation of women who came of age in time for the sexual revolution and took advantage of that freedom pre-Roe v. Wade. Still, there remained the practical matter of how pregnancy could permanently rearrange their lives, and the entrenched expectation that a married woman puts her husband’s career first.