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