Review Roundup: BABE Starring Marisa Tomei Opens At The Pershing Square Signature Center

The New Group production Babe is officially open at The Pershing Square Signature Center. The production of the play from Jessica Goldberg, features Arliss Howard, Gracie McGraw and Marisa Tomei, in a production directed by Scott Elliott and featuring original music by BETTY. Read the reviews below.

The limited Off-Broadway engagement is slated through December 22 at The Pershing Square Signature Center.

From grunge to femme punk hits, Abby (Marisa Tomei) and Gus (Arliss Howard) have produced it all.  Their work marriage is legendary and Gus has the platinum records to prove it.  But when Katherine (Gracie McGraw), a fresh A&R hire, calls Abby out on the compromises she’s made in her work, Abby must face the music and fight to survive.  Jessica Goldberg’s Babe launches The New Group’s 30th Anniversary/2024-25 Season. 

Babe includes Scenic Design by Derek McLane, Costume Design by Jeff Mahshie, Lighting Design by Cha See and Sound Design by Jessica Paz.  Babe features Original Music by BETTY.  Production Supervisor is Five Ohm.  Casting Director is Judy Henderson, CSA.  Production Stage Manager: Valerie A. Peterson.

Robert Hofler, The Wrap: “Babe” runs only 85 minutes. Goldberg packs into her play both too much and not enough. Beyond Abigail’s variable health, there’s something too simplistic in the equation that female equals brilliant, male equals dumb. Is it possible that both Gus and Abigail are equally good at their job, but the one has all the power, fame and money? Then again, that novel idea might take another 10 or 15 minutes of stage time.

Jonathan Mandell, New York Theater: In any case, if the play’s point is unclear, the production has its pleasure, not least seeing Marisa Tomei on stage express an impressive range of emotions, from ecstasy to fury to resignation and regret to… rock n roll. She and Gracie McGraw dance to snippets of original rock music composed for the production by the group BETTY.

Amelia Merrill, New York Theatre Guide: Instead, it’s fellow record producer Abigail (Marisa Tomei) and Kat jamming to Bikini Kill’s “Rebel Girl,” the riot grrrl inspiration for Kat’s persona and oeuvre. Babe is more imitative than innovative, copying not just musicians but the social politics of workplace harassment more skillfully explored by other writers. Tomei’s celebrity will attract audiences, but her performance mostly consists of blurting through awkward encounters and grooving to each new artist Katherine brings to work. (A final confrontation between Abigail and Gus finally delivers emotional satisfaction, though Abigail’s sudden change of heart arrives too swiftly.) The characters also speak of music like it’s foreign, its comforts a secret to anyone outside the industry, with only vague descriptors.

Frank Scheck, New York Stage Review: Director Scott Elliott fails to make the proceedings fully coherent, and such stylistic devices as having actors silently remain onstage even when their characters are not in the scene simply feel pretentious. The performers struggle with their underwritten roles; Howard, playing Gus with suitable bluster, feels miscast, the actor’s natural likability at odds with his character’s piggishness. Tomei fares the best, conveying her character’s emotional and physical travails with intensity and humor. But it’s not enough to prevent Babe from feeling schematic in its #MeToo movement themes.

James Wilson, Talkin' Broadway: Directed by Scott Elliott, the production takes some time to catch fire. Arliss and McGraw plumb the depths of their characters as the play progresses and, particularly in Arliss's performance, infuse the portrayals with empathy. Initially, however, they are presented as broad comic types. The set-up, recalling David Mamet's Oleanna, limits Tomei's character to responding to the situation, her emotions expressed through stilted and awkward physical gestures. Additionally, Goldberg's depiction of an unlikely flirtation between the women feels contrived, and its only purpose seems to be for highlighting Abigail's troubled history. The backstory does, however, provide opportunities for a handful of effective grunge and punk songs by the indie rock band BETTY. (Jessica Paz's sound design contributes to the periodic rock-concert ambiance.)