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.
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.
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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