There’s something strangely comforting about Babbitt. Perhaps it is the library set, a cozy environment for this story to come to life. Perhaps it is the nostalgic aesthetics. Perhaps it is Matthew Broderick, always a soothing presence, in the titular role. All of these facets and more come together to make Babbitt, directed by Christopher Ashley and now performing at Shakespeare Theatre Company, a delight to watch. But that may also be the greatest weakness of Joe DiPietro’s Babbitt, which is adapted from Sinclair Lewis’ 1922 satirical novel of the same name. More than a century later, the story’s themes are certainly still relevant, but DiPietro’s adaptation, while funny and insightful, doesn’t quite pack the punch that it aims to strike. Matthew Broderick as George F. Babbitt in ‘Babbitt’ at Shakespeare Theatre Company. Photo by Teresa Castracane Photography. The story, essentially, is one of rebellion. George F. Babbitt is introduced by an omnipresent cast as a sort of American everyman. For all intents and purposes, he could be any middle-aged man with a middle-class job in any midsize city in the Midwest. He has achieved the American Dream — wife, two kids, new electric toaster — and should be, theoretically, happy. But facing disillusionment with the empty monotony of his life, George decides to make something of himself, and gives a speech at a real estate gala that turns, somewhat unexpectedly, political. More expectedly, at least by today’s standards, the political speech — filled with what would today be considered far-right talking points — is effective, launching George to overnight local stardom, setting him on a path out of his monotony. The expressly political sections of Babbitt are, to be frank, some of the weaker portions of the show. George’s speeches are very obviously analogues to those of Donald Trump and other contemporary far-right politicians, but what he says is either too realistic to be satire or too well-trodden to offer any fresh insight. Thankfully, George’s political rise — notably far less present in Lewis’ novel — is largely a means to an end. It sends his rebellion against the repetition of his life into a downward spiral, while the people around him — his wife, best friend, son, etc. — start to rebel themselves, setting off a hilarious series of scenes satirizing middle-class American society and culture. TOP: Matthew Broderick as George F. Babbitt (reclining) with storytellers Matt McGrath, Ali Stroker, Ann Harada, Nehal Joshi, Judy Kaye, Mara Davi (kneeling), and Chris Myers; ABOVE: Mara Davi and Matthew Broderick and the cast in ‘Babbitt’ at Shakespeare Theatre Company. Photos by Teresa Castracane Photography. These scenes are the meat of the play, and are where the themes of Babbitt start to shine. DiPietro’s script has far more interesting things to say about disillusionment with the American Dream, what that feeling can drive people to do, and the social costs of breaking with conformity than it does about politics. This is also where the cast stands out. The “storytellers” (Mara Davi, Ann Harada, Nehal Joshi, Judy Kaye, Matt McGrath, Chris Myers, and Ali Stroker) who narrate and play multiple parts each, are all ideal for a show that requires versatility and comedic chops, even if some of the more interesting side characters — namely, George’s wife — are underwritten. And, of course, there’s Matthew Broderick, for whom the role of George in this adaptation was written and developed. It’s understandable why: There is a meekness to Broderick’s voice that works well to satirize the American everyman and a brightness to his delivery that we can see noticeably dim as the story goes on. But Broderick’s affability, alongside the gentle persona he is known for in popular culture, may actually work against Babbitt at times. Even as he makes poor choices, George is never really unlikeable. At best, his decisions are matter of fact. But that speaks to a broader issue with this Babbit, which is that as much as it aims for insightful critique, it also consistently reverts to a playful sense of comfortability. Bright and warm hues from the costumes (by Linda Cho) and lighting (by Cha See) counteract the sterilized white space, while whimsical music (written by Mark Bennett and Wayne Barker) evokes a nostalgia that adulterates the script’s satirical reminders of the problems with American society. Babbitt’s trick, of course, is that it is both of these things: escapism and a slap in the face. The trouble is that, more often than not, the former undercuts the latter rather than working in coordinated dissonance. Put simply, the slap in the face never really stings. The societal criticism is more constructive than cutting. Babbitt may have some genuinely interesting things to say — if not say, then at least depict — and remains funny throughout, even as it starts to drag in the second act. But for better or for worse, this Babbitt is a comfort watch. Any higher aim isn’t quite realized. Running Time: Two hours and 10 minutes, including one 15-minute intermission. Babbitt plays through November 3, 2024, presented by Shakespeare Theatre Company, produced in association with La Jolla Playhouse, at Harman Hall, 610 F Street NW, Washington, DC. Tickets ($54–$75) are available at the box office, online, or by calling (202) 547-1122. Shakespeare Theatre Company offers discounts for military servicepeople, first responders, senior citizens, young people, and neighbors, as well as rush tickets. Contact the Box Office or visit Shakespearetheatre.org/tickets-and-events/special-offers/for more information. Audio-described and captioned performances are also available. The Asides program for Babbitt is online here. COVID Safety: All performances are mask recommended. Read more about STC’s Health and Safety policies here.