Attending the play with my husband, a former record company executive, his take was that Gus (Sal Viscuso) hit the nail on the head as the embodiment of the rough and tumble pre-MeToo era.
The play opens with a job interview with Gus, Abigail (Julie Dretzin) and Kaitlyn (Wylie Anderson), the wide-eyed young college gradseekingto get a toehold in the music business. While every cliché imaginable is delivered, the exchange rings true to form for anyone who was privy to that scene.
Julie Dretzin's role as the dutiful, unacknowledged assistant, Abigail, as much in the knowas Gus, is a character is more complex than that of the young Kaitlyn. Challenged with illness, losing her love, hit maker recording artist Cat Wonder, a part played well, but somewhat confusinglyby Wylie Anderson who manages the tworoles. Still the play works. Gus gets his comeuppance and Abigail gets his job. Yet femalerage continues as Kaitlyn and Abigail seekto forge a new place for women in the still male-dominated business.
A fine ensemble piece with the three actors solid and sure footed in their rolesfillingthe sparse stage, well configured by set designer Amanda Knehans. Worthy of particular mentionis the sound design by Alysha Bermudez that sets the stage for what will follow.
Although more clarification of the dual Kaitlyn/Cat roles would be helpful, BABE, written by Jessica Goldberg and well directed by Chris Fields is satisfying and thought-provokingtheatre. A notable undertaking by The Echo Theater Company, this world premiere continues at the Atwater Village Theatre through October 24.