Becomes a Woman

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BECOMES A WOMAN

Photo: Todd Cerveris

Cititour.com Review
How do you measure a year in the life? In the landmark musical “Rent,” Jonathan Larson suggested everything from midnights to sunsets to cups of coffee. But for Francie Nolan, the protagonist of Betty Smith’s heretofore unproduced play “Becomes a Woman,” now being presented by the Mint Theatre, a year’s events include her first date, a short-lived affair that results in pregnancy, abandonment and a pro-forma marriage, eviction from her childhood home, and – eventually – the development of inner strength and independence that changes her from a “girl” to a “woman.”

Written in 1931, the play does share the same main character’s name and home borough as Smith’s beloved novel “A Tree Grows in Brooklyn,” but the works are otherwise unconnected. Still, both pieces have memorable lead roles, and given how easily “Becomes a Woman” works as a true star vehicle (despite a large ensemble), it’s a little surprising no one has mounted it before.

Here, Francie is portrayed by the beguiling Emma Pfitzer Price in an incredibly auspicious Off-Broadway debut. She deftly traverses the character’s emotional journey from an ultra-shy singing salesgirl (Price has a lovely voice) -- afraid of being both disappointed in men and disappointing her religious parents -- to a new mother with the gumption to stand up to a sleazy booking agent (Philip Taratula, a bit hammy), her smooth-talking, two-faced ex-lover (a silky Peterson Townsend) and his rich father (an excellent Duane Botte) whose kindness only extends so far when he’s challenged.

The show’s first act, in which Francie mostly banters with sarcastic co-worker Flory (Pearl Rhein, practically channeling Bebe Neuwirth) and the older and wiser Tessie (a delightful Gina Daniels) is short lengthwise but feels overlong due to its excessive exposition and repetition. Perhaps if the Mint wasn’t so devoted to presenting plays as originally written, this section could be redrafted as a mere prologue, considerably shortening the show’s 2 ½-hour running time (with two intermissions).

Fortunately, director Britt Berke picks up the pacing over the next two acts, both of which are set in Francie’s parents’ kitchen. (Vicki R. Davis manages to pack a lot of detail into the tiny space that is New York City Center’s Manhattan Theatre Club Stage II space.)
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Still, meeting Francie’s parents, who have been described as monstrous, is a slight letdown. Portrayed with spirit by Broadway veterans Jeb Brown and Antoinette LaVecchia, they come off much like Archie and Edith Bunker, bickering but still devoted to each other, a bit sharp-tongued, but essentially typical of Irish Catholic working-class parents of the 1930s.

And while one can disdain their ultimate treatment of their daughter, if they’re meant to be the “villains” of the piece, Smith miscalculated. In the end, they are merely obstacles for Francie to overcome – which like everything else this remarkable young woman faces in one year she does quite admirably.
By Brian Scott Lipton


Visit the Site
https://minttheater.org/production/becomes-a-woman/

Open/Close Dates
Opening 2/27/2023
Closing 3/17/2023


Theatre Info
Mint Theater
311 43rd Street
New York, NY 10036
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