Off-Broadway Debut of Jessica Goldberg’s «Babe» Explores Workplace Discrimination

Jessica Goldberg’s latest play, titled «Babe,» has premiered off-Broadway with the New Group, tackling the issue of sexual discrimination in the workplace from an unconventional angle. Rather than focusing solely on perpetrators or victims seeking justice, the play explores the perspective of an unwitting victim who becomes aware of her exploitation later in her life. However, some critics suggest that the play’s execution may diminish its promising premise.

At the center of «Babe» is Abby, portrayed by Marisa Tomei, who has been the assistant to Gus, acted by Arliss Howard, a charismatic talent scout at a prominent record label. Their professional relationship dates back to the late 1980s. The play opens with Gus interviewing Katherine, played by Gracie McGraw, a prospective addition to their artists and repertoire division. The clear ideological clash between Gus’s outdated sexist views and Katherine’s progressive background is immediately apparent, though Gus ultimately decides to hire her.

The narrative progresses to a crucial moment four months later, when Gus, in a heated meeting, dismisses another of Katherine’s suggestions, leading him to launch an offensive tirade. Katherine, representing the new generation advocating for workplace equality, refuses to accept the verbal abuse silently.

Meanwhile, Abby, struggling with breast cancer—a fact known only to Gus—remains on the periphery, often reflecting on her past, notably her connection with the label’s former star, Kat Wonder, also portrayed by McGraw. It is through Katherine’s defiance that Abby begins to reflect on her years navigating a male-dominated industry, realizing her own experiences of discrimination.

Gus, seeing his harsh manner as mere candor, has been successful so far, whereas Katherine’s aspirations for a more inclusive environment are depicted as commendable, though the play tends to render her character as somewhat of a stereotype, according to some critiques.

Abby, unlike the other characters, is portrayed with a potential for depth and transformation, but critics have noted that her character’s nuances—such as her potential queerness and past with Kat Wonder—are not sufficiently developed, leaving her narrative arc feeling superficial rather than impactful. Marisa Tomei’s performance seeks to infuse the character with gestures and expressions that compensate for these perceived shortcomings.

Gracie McGraw delivers a compelling performance, making Katherine more relatable despite the caricature-like script, especially in her portrayal of Kat Wonder, which concludes with a powerful musical number. Arliss Howard’s performance stands out, balancing Gus’s authoritative menace with softer moments of vulnerability when interacting with Abby.

The production, directed by Scott Elliott, has faced criticism for its transitions between scenes, described as clumsy, and unconventional staging choices, like keeping uninvolved actors present on stage with their backs to the audience. Moreover, the set design by Derek McLane, though economical, lacks imagination, while Cha See’s lighting and Jessica Paz’s sound design strive to evoke the changes in setting and time.

A notable and contentious element on stage is the neon «BABE» sign, strategically lit at the play’s conclusion. While seemingly unrealistic, it fittingly aligns with the production’s tendency toward overt dramatization over nuanced character development.