Off-B'way Reviews: Joy A New True Musical; Rolling Thunder

Betsy Wolfe in Joy A New True Musical.
Credit: Joan Marcus

Joy, subtitled a New True Musical, Off-Broadway at the Laura Pels, is a serviceable enough product to entertain intermittently for two hours, but it’s basically a knock-off of stronger, more original female empowerment tuners such as Waitress, Wicked, Legally Blonde, and even Boop!, the recently departed cartoon fantasy. Based on the life of Joy Mangano, a struggling Long Island inventor who became a successful entrepreneur and media saleswoman through her Miracle Mop and other creations, Joy is fun and silly, but trods a familiar path lined with cliches. Note: Joy’s life also served as at the basis of a 2015 film starring Jennifer Lawrence.

Ken Davenport’s book is laden with stereotypes (chauvinistic execs, twangy Texans, fast-talkin’, flinty Long Islanders, 30-ish golddiggers matched with silver-chained daddies) and Annmarie Milazzo’s score heavily relies on generic tunes and unimaginative lyrics. But the game cast is professional and Lorin Latarro’s direction is brisk enough to hold our attention. There are occasional pops of wit and satire, but not to enough to push the show beyond just okay.

We start as beleaguered Joy (a commanding Betsy Wolfe) struggles to hold down her overflowing household. Not only is she putting up both her divorced, squabbling parents (Adam Grupper, Jill Abramovitz), but her ex-husband Tony (Brandon Espinoza) is bunking with Dad Rudy in the basement as Tony unsuccessfully tries to eke out a singing career. Joy’s mom Toots is permanently in her bathrobe and glued to the couch. Joy’s meager paycheck as an airline ticket clerk is the sole source of income, stressing her out and causing her to constantly miss soccer games and school events for her and Tony’s unhappy daughter Christie (Honor Blue Savage).

Jill Abramovitz, Honor Blue Savage, Brandon 
Espinoza, Jaygee Macapugay, and Adam Grupper
in Joy A New True Musical.
Credit: Joan Marcus

Joy has always had brights idea for gizmos which never panned out (realized in a musical number with a younger version of herself played by Nora Mae Dixon). Now she has a light bulb moment when she spills a glass of soda. Why not a mop that can wring itself out with the poor housewife user not having to bend over? Thus the Miracle Mop and a musical are born. 

There follows Joy’s against-the-odds sojourn to market her creation. She is pitted against  sexist QVC higher-ups (led by Charl Brown) and a Stetson-wearing villainous manufacturer named Cowboy Eddie (Paul Whitty) who attempts to purloin her patent. The former are given a rock alpha-male dance number complete with supposedly sexy hip thrusts, and the latter is joined by a chorus of central-casting cowboys (and a few token gals) in an intimidating hoedown. Choreographer Joshua Bergasse gives both numbers much needed energy.