Dark comedy play “Becky Shaw,” written by Gina Gionfriddo, is back on stage. First premiered in 2008 at the Humana Festival of New American Plays, it is given new life with its 2026 Broadway debut at the Hayes Theater. I had the lovely opportunity to see the show during its previews.
It opens with a scene between Suzanna (Lauren Patten) and Max (Alden Ehrenreich). This was Ehrenreich’s Broadway debut. Suzanna is in a sorrowful state amidst the death of her father, while Max tries to speak business as the family’s financial manager. They’re supposed to meet with Susan (Linda Emond), Suzanna’s mother and hilarious comedic treat. Emond’s character is reminiscent of Jane Fonda in “Monster-in-Law.”
Even describing Suzanna and Max’s relationship is complicated. He’s the family’s money advisor, yes, but Suzanna’s family also adopted him at a young age due to his unfortunate childhood. He and Suzanna became close friends over the years.
Patten and Ehrenreich’s chemistry is almost intoxicating. Suzanna had confided in Max fully by the end of the night, crossing the line from friendship to lust. Max tells her, “It doesn’t have to change anything,” but that tale is as old as time.
In the next scene, to the audience’s shock, Suzanna is married. Though it is not the face we thought we’d see as her husband, instead, it’s someone named Andrew (Patrick Ball). This was Ball’s Broadway debut. She met Andrew on a ski trip, which Max encouraged to free her mind during her depressive episode.
This leads us to the play’s main premise: a blind date gone terribly wrong. We finally meet Becky Shaw (Madeline Brewer) as she’s set up on a blind date by Andrew and Suzanna. “Becky Shaw” is Brewer’s Broadway debut. Andrew met Becky while working at his office job and now has set her up with Max.
To put it simply, Max is a douche. We learn this seconds after he first steps onstage. Then, here comes Becky, in a frilly, colorful dress, radiating whimsical energy.
Obviously, it’s not a match. While appearing unthreatening at first, Becky soon becomes the core conflict of the play, ruining multiple relationships.
No one in this play is someone you can fully root for. They’re all insufferable in their own ways and are grappling with various issues. Andrew has a savior complex toward lost women, Max is a prick, Becky is manipulative and a little psychotic at times and Suzanna clings onto concepts instead of following her heart. At times, I felt like I was watching an episode of “Sex and the City,” and I mean this as a huge compliment.
The production kept it simple. There weren’t too many setting changes, just the occasional apartment swap or a subtle scene in the park with only a bench. This really helped to immerse you more in the performances instead, as nothing else was there to distract you. Scenes lasted awhile, as well, with Act I only having two scenes before intermission.
To me, Ehrenreich as Max was the highlight of the show. Weirdly, he was somehow the heart of it. Ehrenreich put on a masterful performance during his Broadway debut. Between the dark humor, being a scoundrel and the intense breakdown at the end, he kept me on my toes the whole time.
The production kept me thinking for a long time after my initial viewing. It was addictive, and all the actors were wonderful. If you have the opportunity, give “Becky Shaw” at the Hayes Theater a visit before its final show on June 14.
This article has been edited from it’s published version: “Dark comedy play “Becky Shaw,” written by Gina Gionfriddo, is back on Broadway” to “Dark comedy play “Becky Shaw,” written by Gina Gionfriddo, is back on stage.”
