Theater: “Babe” starring Marisa Tomei at New Group

Sexism in the music business? No, really? Grizzled old men who look ridiculous in rock-and-roll T’s and tight jeans? Who call women “girls” and “babe” and discuss whether or not they can be gotten into bed? Yes, it’s still around, says Jessica Goldberg’s new play “Babe” (New Group).

As the play opens, Gus (Arliss Howard), a successful OK-Boomer record producer/scout and his work-wife Abby (Marisa Tomei) are interviewing to fill an assistant position. Catherine (Gracie McGraw), a Type-A young millennial shows up, hungry for the job.

“Woodstock is in my blood,” Catherine boasts. “Wait,” Gus replies cynically. “Let me figure this out. Your folks had a weekend house in Woodstock…and you were raised here in Manhattan. Upper West or Upper East?” East, she admits.

After the interview—when Gus openly wonders if Catherine “has a soul”—she is hired anyway, and sparks do fly. Gus proceeds to belittle Catherine at every opportunity, doubting her musical judgment and one day making her cry.

To apologize on his behalf, Abby invites Catherine over to her gorgeous apartment. Champagne is opened, the women get slightly drunk and deep-dark secrets are revealed.

So far, the play seems a battle between misogynistic OG dudes and overly woke Gen Z’ers but stick around to the end for a couple of surprises. En route, you’ll discover the chief attraction of this one act-er: Marisa Tomei.

I’ve loved MT since “Cousin Vinny.” She was killer in “How to Transcend a Happy Marriage” at LCT and as Serafina in “The Rose Tattoo” at Roundabout. But nothing may prepare you for her layered, sympathetic performance as Abby, the OK Boomer woman-rock-and-roll-agent-most-likely to-be-ignored in a testosterone-driven business.

Seems Abby has not only been dissed as a woman by Gus but she is also somewhat complicit in his world-view—even though it was she, not he, who discovered Cat Wonder, a once-in-a-generation rock-and-roller loosely based on Debbie Harry (and played in flashback by McGraw).

Last year’s “Stereophonic” made you feel hopeful about the music business; “Babe” may dampen your spirits a bit. But it’s still worth seeing, especially if you want to watch a master like Tomei at work. And speaking of work, if you’ve ever been dissed by a boss or colleague because of your gender or sexuality, you may appreciate this even more. Currently in previews, this little jewel opens November 20, a week before Thanksgiving. Lots to be thankful for.

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