Much like its source material, 'Babbitt' at the Shakespeare Theatre Company, starring Matthew Broderick, is an ambitious but ultimately underwhelming adaptation of Sinclair Lewis's incisive novel.
Upon entering the theater, audiences are immediately immersed in the kitschy charm of 1920s suburban America - the show's set design effectively conjures a sense of nostalgia for a bygone era.
As for Matthew Broderick, his portrayal of the titular Babbitt is an obvious proto-type of the quintessential American narcissist, displaying a bluster and self-importance faintly reminiscent of another, more modern public figure - one Donald Trump.
Broderick's Babbitt is charismatic and at times comical, often bordering on buffoonery. Despite this, he feels somewhat miscast in the lead role - there's an unshakeable sense that his performance is tempered, rather than truly exploring the satirical character.
Lewis's satire revolves around George F. Babbitt's meandering, soul-searching quest for meaning and identity in the monotonous landscape of American middle-class suburban life. This internal struggle resonates deeply with audiences as Babbitt battles to choose between material success and individuality.
Unfortunately, these weighty themes get watered down in the adaptation, resulting in an oversimplified, lackluster portrayal of Lewis's caustic satire. Despite the strong cast, impeccable production values, and fine performances, 'Babbitt' still falls flat, amounting to a tone-deaf interpretation of the timeless literary classic.
A fresh and genuine take on 'Babbitt' could've brought this Shakespeare Theatre Company production to life, but in its current form, it amounts to a significant missed opportunity.
Perhaps in this misfire lies an underlying truth - that our penchant for nostalgia blinds us to even the harshest criticisms of American culture, preventing us from tackling the deeper truths it poses.