There’s a reason why Lauren Gunderson is one of the most-produced playwrights in America for the past few years running: her plays are witty, exuberant celebrations of the human spirit. Though Gunderson’s subject matter may range from Shakespeare to the French Revolution to Jane Austen, common threads run through her works: fascination with scientific discovery, faith that artists and thinkers leave important legacies, and curiosity for the human details of historical figures’ lives. “Silent Sky,” then, about the unsung life of astronomer Henrietta Leavitt, is the archetypal Gunderson play. If you’ve never seen her work staged before, you owe it to yourself to check out the production at Westside Players. And if you have already seen a Gunderson play — well, you already know that you’re in for a treat.

Henrietta Leavitt (Niona Seabury) is a pioneering astronomer whose passion for science leads her to leave her family, including her sister (Catherine Auger), behind. She lands a job at Harvard Observatory, where her work is overseen by the awkward and smitten Peter Shaw (Skye Fitzgerald). However, the work is not all she initially hoped. She’s tasked with being a human computer, calculating the brightness of stars from photographic plates alongside two other women: the authoritative Annie Cannon (Jillian Valentino) and wisecracking Wilhemina Fleming (Trina Bonman — wait, that name looks familiar). Despite her new job consisting of performing mathematical labor for the benefit of her male counterparts, Henrietta is determined to pursue her own research. What she discovers changes our understanding of the universe.

Westside’s production is performed on a stark black stage, with a projection screen providing the necessary scene setting. The use of projection is a convenient and effective solution for plays, such as this one, that take place across many different points in time and space. In this case, however, it’s got some extra thematic resonance, given the story’s interest in the idea of light. Overall, the technical elements of the show succeed in their mission: supporting the performances.

Director Tanner Morton’s cast proves more than capable of bringing Leavitt’s story to life. As sister Margaret, Auger does an excellent job of walking the line between frustration with her sibling and affection for her. Valentino succeeds in making observatory head Annie an intimidating presence and, later, a staunch and warm ally for Leavitt. I’ll have to admit some bias here, but I found Bonman’s slyly comic Wilhemina to be a hoot, with solid dialect work to boot — given the audience reactions, though, I wasn’t alone in my opinion. Skye Fitzgerald is extremely endearing as the deeply awkward Peter, who takes literal years to admit his affection for Henrietta. They have an easy chemistry with Seabury that makes the halting romance between the characters one of the highlights of the show. Speaking of Seabury–Henrietta Leavitt is, of course, the anchor of the show, and Seabury is perfectly suited for the role. In keeping with her work on Pocatello stages over the last few years, her stage presence is charming and captivating. She’s utterly believable as the passionate, socially awkward researcher, and completely nails the rousing monologue at the show’s conclusion.

Don’t miss this excellent rendition of one of the best plays of America’s most prolific playwrights. “Silent Sky” plays April 13, 19, 20, and 27 at Westside Players.