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.
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.)
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.
2024 | Off-Broadway | The New Group New York Premiere Production Off-Broadway |
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