Betsy Wolfe (Photo: Joan Marcus)

 

Joy: A New, True Musical

 

By Matthew Roland

 

Growing up in the 90s, everyone had heard about the new "Miracle Mop" that was sweeping the nation. But if I told you that in 2025 there's a musical about this very mop, you'd probably do a double take and ask yourself, "Wait... a mop musical?" Well, that is exactly what is happening Off-Broadway at the Laura Pels Theatre in New York City.

 

Inspired by the true story of "Miracle Mop inventor and entrepreneur Joy Mangano, Joy: A New True Musical delivers a technicolor retelling of her journey before, during, and after her life-changing invention started soaking up the competition (see what I did there?). With a book by Ken Davenport and music and lyrics by AnnMarie Milazzo, the show had some strong, standout moments with both scenes and songs, but were often paired with others that felt noticeably lackluster and at times disjointed.

 

Anna Louizos's playafully designed set transforms the proscenium stage into something reminiscent of a dollhouse or pop-up book, creating a simple yet highly effective visual style for navigating scene changes and transitions. Subtle shifts like changing wallpaper or swapping out wall art cleverly reflect Joy's journey from financial hardship to rising success throughout the musical.

 

Costume design by Tina McCartney and wig design from Liz Printz take you back in time, with the large shoulder pads, bright colors, and Princess Diana hairstyles that really place you in the strong 90s aesthetic.

Lorin Latarro's direction is visually engaging in many moments, effectively capturing both the chaos of Joy's life with her dysfunctional family and the quiet resilience driving her dreams and aspirations. The show is fast-paced, with a large cast and frequent scene changes, all of which Latarro navigates with skill and clarity. However, where her direction falters is in the comedic moments. At times, the gags feel overly drawn out, as if the actors are waiting for a laugh that never quite came. This pacing makes the humor feel forced, placing pressure on the audience to react to something that didn't land naturally.

Betsy Wolfe and the Ensemble (Photo: Joan Marcus)

 

While choreography isn't the primary focus of this musical, Joshua Bergasse weaves in playful movement and clever transitions that perfectly capture the spirit of the 90s. A standout number was "We Sell Stories," performed by the male ensemble and featuring Charl Brown as QVC head honcho Dan Hardy. It's a high-energy moment that, toward the end of Act One, injects fresh momentum into the show and recharges the audience. Unfortunately, that same energy felt noticeably absent in Act Two, which leans heavily on ballads and start to drag as a result. Even as the stakes reach their peak, with the protagonist at her lowest and the threat of a hostile takeover looming, complete with a bad guy wearing all black, the tension never quite lands. The final courtroom scene feels labored, and I found it hard to stay fully invested in the outcome.

 

The true standout in this piece is, of course, Betsy Wolfe, who brings the character of Joy to life with depth and charisma. Her powerhouse vocals and sharp acting chops guide us through the roller coaster that is Joy's life, navigating unemployment, single motherhood, and a chaotic household that includes her ex-husband, divorced parents, and teenage daughter, all under one roof. Wolfe's 11 o'clock number, "A Better Way," fibes any fan of hers exactly what they expect, showcasing every ounce of talent she has to offer.

 

Other notable performances come from all of Joy's eccentric family members. There's her stubborn mother, Toots (Jill Abramovitz), her freeloading ex-husband Tony (Brandon Espinoza), her teenage tornado of a daughter Christie (Honor Blue Savage), her outspoken father Rudy (Adam Grupper) and his wealthy, risk-taking girlfriend Lorraine (Jaygee Macapugay). Together, they embody the chaos and tension that define Joy's household, bringing life to the messy, often overwhelming dynamics she must navigate on her journey from struggling entrepreneur to household name. All the while, Joy's younger self, played with charm and sincerity by Nora Mae Dixon, appears throughout the show as a guiding presence. She serves as a reminder of Joy's original dreams, helping to keep her vision clear and her determination alive.

Jill Abramovitz, Honor Blue Savage, Brandon Espinoza, Jaygee Macapugay, Adam Grupper (Photo: Joan Marcus)

I'll admit, I left the theatre still asking myself, "Did we really need a musical about a mop?" But to my surprise, I also left feeling kind of. Joy-ful (pun very much intended). And if you're one of the lucky chosen ones (as I was), you just might walk out with your very own Miracle Mop in hand. Who says theatre can't come with a cleaning product?

 

Joy:A New True Musical

Laura Pels Theatre

111 West 46th Street, New York, NY 10036

Running time: 2 hours, 15 mins (including intermission)
Tickets: https://joythemusical.com/