Oh My God, Becky (Shaw)

The recipe for good theatre is simple, not easy. Clean writing, intriguing characters, and solid acting get you 99% of the way there. The revival of Gina Gionfriddo’s Becky Shaw, up now at the Helen Hayes Theatre, has everything you need for good theatre and not much that you don’t. 

It’s a show that sails on the strength of its writing, as Gionfriddo has a strong grasp on how real people talk. With many Broadway houses plagued by stilted dialogue this season, Becky Shaw was a breath of fresh air. But it isn’t just the dialogue. Each character has real depth, and the dynamics among them are thoroughly and honestly mined. Gionfriddo pushes every interaction to the brink of absurdity, but builds it up and knows when to draw the line to prevent us from rolling our eyes in disbelief. The result is some side-splitting humor. 

Every character kind of sucks, but in an ultimately redeemable, human way. At one moment they make you think, “Ugh, I know that guy! I hate that guy!” Then the next, you realize you’re suddenly on their side. That see-saw is most noticeable when it comes to Max (Alden Ehrenreich), whose default state is brash to the point of rudeness. He’s abrasive, with an unwillingness to engage with emotions that borders on pathological. He’s maddening and hard to root for at times, but the more we see of him and the more we learn of his backstory, the more we get it. He’s supremely competent—a dedicated “fixer” for the small circle of people he loves, even if he struggles to vocalize his feelings. His worship of rationality at the expense of all else is extreme, but hard to disagree with completely.

Becky Shaw’s (Madeline Brewer) fragility is likewise near-pathological, and the complete cluelessness with which she navigates her interpersonal relationships approaches unbelievable without crossing that line. Andrew (Patrick Ball) is the picture of a “good guy” with a savior complex—we all know the type—but his motives are genuine, and by the end he’s open to acknowledging and working on his faults. 

Susan (Linda Emond) isn’t winning any mother of the year awards, but her worldview is so clearly a direct result of her experiences that it’s difficult to fault her too much for it. Meanwhile, Suzanna (Lauren Patten) is caught in the gravity of the other characters (as well as her own grief), a passenger in her own life. She’s hard to watch, precisely because she’s so recognizable. 

The whole cast is at the top of their game, making Becky Shaw a true ensemble piece. When they need tension, they make tension; when they need chemistry, they make chemistry. It’s all perfectly tuned for the story at hand. All five performers have impeccable comedic timing, and Trip Cullman’s direction keeps the pace of the play moving along at an enjoyable clip. That said, Ehrenreich is a cut above the rest. Patrick Ball may be the one driving ticket sales on the back of his success on HBO's The Pitt, but Becky Shaw is the Ehrenreich show. Don’t be surprised if we see him holding a statuette in June.