Review: Matthew Broderick Delivers Complexity Simply in Babbitt

While the origins of Babbitt, an adaption of Sinclair Lewis’s satirical novel playing at the Shakespeare Theatre Company, date back more than 100 years, its political themes are every bit as relevant in 2024.

Adapted by Joe DiPietro, the play tells the story of real estate broker George F. Babbitt (a stellar Matthew Broderick) in the everyman-town of Zenith. He leads a somewhat mundane existence. He has a wife, son, and daughter; is not fat but “extremely well fed”; is quick to buy the latest in appliances; and is a lifelong Republican. These facts are presented on stage by an array of narrators that add dynamic layers to his story as different characters.

George has a knack for writing strong speeches, and he is soon called upon to advocate for a businessman running for a mayor who shares his beliefs. “I always knew I had something to say, but wasn’t sure anyone wanted to hear it,” he exclaims. The problem is his incendiary beliefs target socialists and liberals, and his words aren’t received well. He has plenty of energy and emotion, but he doesn’t speak the truth. “I wish people wouldn’t give speeches based on ignorance,” says one character.

Broderick commands the stage even when he portrays George’s dullness. His voice reflects George’s lackluster inner life and makes him seem tired and weak. Even when his character starts to show some passion — giving in to the whim of his fantasy crush, standing up for his best friend, or shockingly using a sacred guest towel to dry his hands — Broderick never lets George become more than he is: boring.

Broderick shines when performing physical comedy, and his attempts to simply sit on the floor or learn to dance bring great laughs. The latter scene leads to some impressive hoofing, which helps us see a bit of charm in George, but it’s fleeting.

Trying to keep people interested and help a friend, George eventually flipflops in his viewpoints, and like many politicians before and after him, suddenly advocates for the other side. He feeds off people needing his words, and Broderick conveys George’s wanton desires to a tee.

Ann Harada is ideally cast as George’s compliant and sympathetic wife, who eventually sees the light and decides it’s time for a change. Ali Stroker is full of vibrancy as young Tinka, whose kiss George looks forward to most each day, and Chris Myers is convincing as Babbitt’s rebellious teenage son, who doesn’t want to fall into the same rut as his dad.

Director Christopher Ashley keeps things lively. Actors play multiple parts, with Mara Davi especially captivating as George’s mistress. Judy Kaye is a delight, often getting the biggest laughs, and both Nehal Joshi and Matt McGrath make the most of their time onstage. Some characters could have been fleshed out better, but this is George F. Babbitt’s world, so the focus is on him.

Walt Spangler’s white set is striking. Though white is often associated with simplicity and minimalism, Spangler’s creative use of bookshelves on two levels with spots of bright colorful books creates a bold statement. Linda Cho’s costumes are colorful, complementing the set perfectly, while the lighting by Cha See had some off-moments, with some distracting reflections of red and blue at key moments.

Despite his faults, it’s tough not to like George, because Broderick is so good at playing the likable everyman. We should probably feel more contempt for George, and in that respect, maybe Broderick is too good in the role. Still, the play makes for fun and topical theater during this political season.