• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Reviews from Broadway and Beyond

  • Now Playing
  • Recently Opened
    • Broadway
    • Off-Broadway
    • Beyond
  • Critics’ Picks
  • Our Critics
    • About Us
    • Melissa Rose Bernardo
    • Michael Feingold
    • David Finkle
    • Will Friedwald
    • Elysa Gardner
    • Sandy MacDonald
    • Jesse Oxfeld
    • MICHAEL SOMMERS
    • Steven Suskin
    • Frank Scheck
    • Roma Torre
    • Bob Verini
  • Sign Up
  • Facebook
  • Twitter
  • Now Playing
  • Recently Opened
    • Broadway
    • Off-Broadway
    • Beyond
  • Critics’ Picks
  • Our Critics
    • About Us
    • Melissa Rose Bernardo
    • Michael Feingold
    • David Finkle
    • Will Friedwald
    • Elysa Gardner
    • Sandy MacDonald
    • Jesse Oxfeld
    • MICHAEL SOMMERS
    • Steven Suskin
    • Frank Scheck
    • Roma Torre
    • Bob Verini
  • Sign Up
  • Facebook
  • Twitter
May 3, 2018 7:01 pm

Unexpected Joy: A Show Paved With Good Intentions

By Melissa Rose Bernardo

★★☆☆☆ A four-character, all-female musical at the York Theatre is an Unexpected disappointment

Luba Mason and Celeste Rose in Unexpected Joy
Luba Mason and Celeste Rose in Unexpected Joy. Photo: Carol Rosegg

If you see the new musical Unexpected Joy at Off Broadway’s York Theatre Company, you’ll spend a lot of time doing mental mathematics. How exactly is Luba Mason, who plays the title character, Joy, supposed to have an 18-year-old granddaughter?

As the recently widowed singer-songwriter Joy, half of the apparently famous musical duo Jump and Joy, Mason barely looks middle-aged. Okay, let’s think about this: Say Joy pulled a Gilmore Girls and had her daughter, Rachel (Courtney Balan), when she was 16. After all, she and Jump were free spirits who never married, enjoyed Herbal Magic brownies, and originally named their daughter Rainbow; she might have been a very young mother. (Joy is still a free spirit. You can tell from her peasant blouses and enviable collection of leather jackets.) But given that Rachel went on to marry an ultraconservative televangelist preacher, Rachel must have been a little older when she had her daughter, Tamara (Celeste Rose). At least 18, right? So Joy would have to be 52, at the very least. Maybe Mason is; I’m not in the habit of asking actor’s ages. But even under harsh stage lighting, no one would mistake her for a grandmother. (Unrelated: If anyone has insight into her skin-care regime, please share.)

Perhaps I’m overanalyzing. Mason (who, incidentally, is marvelous) looking less-than-grandma-age is the least of the problems with Bill Russell and Janet Hood’s well-intentioned but wan Unexpected Joy.

The show’s setup—and its hazy framing device—is a memorial performance for Jump. A little predictable, but convenient, as it gives Joy, Rachel, Tamara, and Joy’s friend Lou (Allyson Kaye Daniel) an excuse to stand around and sing a bunch of songs, concert-style. But before practically every group number, there’s a discussion about the decision to sing. Just a few snippets, out of succession: “Let’s do a song”; “Let’s all do it together”; “That song rocks.” As Tamara says at one point, “Can we just sing the damn song?” That’s no way to build up to the sweet lullaby “Before You Arrive” or the bluesy anthem “What a Woman Can Do.” When someone just walks out and starts wailing—like Lou does with the torchy “She’s Got a Mind of Her Own”—the song lands.

Getting from song to song—that pesky libretto!—is the problem. Russell (Side Show) has a knack for one-liners, but not for plotlines. Joy telling the tale of her overnight arrest gets laughs and becomes a running joke, but the premise is a head-scratcher. She was at a women’s march in Provincetown, when “these goons started taunting us—calling us ‘snowflakes’ and the P-word and the C-word. So we took off our pants and started chanting ‘You ain’t grabbing this!’” Goons? In P-town? How were they not ridden out of town on a rail?

And when the ladies aren’t in rehearsal or on the concert stage, when they’re angry and contemplative and bursting with feeling, the numbers are far less successful. “Raising them right/ Is always the goal/ But you have to accept/ What you can’t control” sings Rachel in the treacly “Raising Them Right.” And in her duet with Lou, the weirdly creepy “You Are My Worst Nightmare”: “This is far too scary/ To possibly be true/ No way in reality/ Would I go near the likes of you!”

Such work from Russell—who, along with Hood, wrote the thrilling Elegies for Angels, Punks, and Raging Queens—is, well, unexpected.

Unexpected Joy opened May 3, 2018, and runs through May 27. Tickets and information: yorktheatre.org

About Melissa Rose Bernardo

Melissa Rose Bernardo has been covering theater for more than 20 years, reviewing for Entertainment Weekly and contributing to such outlets as Broadway.com, Playbill, and the gone (but not forgotten) InTheater and TheaterWeek magazines. She is a proud graduate of the University of Michigan. Twitter: @mrbplus. Email: melissa@nystagereview.com.

Primary Sidebar

Creditors: Strindberg Updated, For Better and Worse

By Frank Scheck

★★★★☆ Liev Schreiber, Maggie Siff, and Justice Smith star in Jen Silverman's adaptation of Strindberg's classic drama.

Creditors: Love, Marriage, and Maddening Mind Games

By Melissa Rose Bernardo

★★★☆☆ Ian Rickson directs the rarely performed Strindberg work, with a refresh from playwright Jen Silverman

Goddess: A Myth-Making, Magical New Musical

By Melissa Rose Bernardo

★★★★☆ A luminous Amber Iman casts a spell in an ambitious Kenya-set show at the Public Theater

Lights Out, Nat King Cole: Smile When Your Heart Is Breaking

By Frank Scheck

★★★☆☆ Dule Hill plays the title role in Colman Domingo and Patricia McGregor's play with music, exploring Nat King Cole's troubled psyche.

CRITICS' PICKS

Dead Outlaw: Rip-Roarin’ Musical Hits the Bull’s-Eye

★★★★★ David Yazbek’s brashly macabre tuner features Andrew Durand as a real-life desperado, wanted dead and alive

Just in Time Christine Jonathan Julia

Just in Time: Hello, Bobby! Darin Gets a Splashy Broadway Tribute

★★★★☆ Jonathan Groff gives a once-in-a-lifetime performance as the Grammy-winning “Beyond the Sea” singer

John Proctor Is the Villain cast

John Proctor Is the Villain: A Fearless Gen Z Look at ‘The Crucible’

★★★★★ Director Danya Taymor and a dynamite cast bring Kimberly Belflower’s marvelous new play to Broadway

Good Night, and Good Luck: George Clooney Makes Startling Broadway Bow

★★★★★ Clooney and Grant Heslov adapt their 2005 film to reflect not only the Joe McCarthy era but today

The Picture of Dorian Gray: A Masterpiece from Page to Stage

★★★★★ Succession’s Sarah Snook is brilliant as everyone in a wild adaptation of Oscar Wilde’s prophetic novel

Operation Mincemeat: A Comical Slice of World War II Lore

★★★★☆ A screwball musical from London rolls onto Broadway

Sign up for new reviews

Copyright © 2025 • New York Stage Review • All Rights Reserved.

Website Built by Digital Culture NYC.