From grunge to femme punk hits, Abby (Marisa Tomei) and Gus have produced it all. Their work marriage is legendary and Gus has the platinum records to prove it. But when Katherine, a fresh A&R hire, calls Abby out on the compromises she’s made in her work union, Abby must face the music and fight to survive.
“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.
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.
2024 | Off-Broadway |
The New Group New York Premiere Production Off-Broadway |
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