Joan at Barrington Stage
The Queen of Comedy Has the Last Laugh
By: Charles Giuliano - Aug 07, 2025
Joan
Written by Daniel Goldstein
Directed by David Ivers
Cast: Tessa Aberjonois, Elinor Gunn, Andrew Borba, Zachary Prince
Scenic design, Wilson Chin; Costumes, Kish Finnegan; Lighting, Philip S. Rosenberg; Sound, Beth Lake.
Barrington Stage Company. A South Coast Repertory production
Boyd-Quinson Theater,
30 Union St., Pittsfield
Through Aug. 17
Performances: 2 and 7 p.m. Wednesdays; 7:30 p.m. Thursdays and Fridays; 2 and 7:30 p.m. Saturdays; 3 p.m. Sundays
"Everything that we all have to go through — all the terrible — every day? Where would we be? Where the hell would we all be, without laughter? They’re just jokes. What would we do if we couldn’t laugh?"
Joan Alexandra Molinsky (June 8, 1933 – September 4, 2014), known professionally as Joan Rivers, was an American comedienne, actress, producer, writer and television host. She was noted for her blunt, often controversial comedic persona that was heavily self-deprecating and acerbic, especially towards celebrities and politicians, delivered in her signature New York accent. She is considered a pioneer of women in comedy. She received an Emmy Award and a Grammy Award, as well as nomination for a Tony Award.
She died at 81 through complications from a botched throat procedure. At her funeral comedian Howard Stern in a eulogy stated that she was "brassy in public [and] classy in private ... a troublemaker, trail blazer, pioneer for comics everywhere, ... [who] fought the stereotypes that women can't be funny."
With four actors performing multiple roles the play by Daniel Goldstein is presented at Barrington Stage Company through August 17. “Joan” is having its regional premiere in Pittsfield, in a production originally staged at California’s South Coast Repertory Theatre, before being produced again at The Cape Playhouse, Sept. 3-20, with a different director and cast.
The daughter of a doctor from upscale Larchmont, New York, after Barnard College, she struggled in the comedy clubs of Greenwich Village often performing for small and indifferent audiences. Over three years she auditioned seven times for the Tonight Show.
When she was finally booked the drama, directed by David Ivers, focused on whether she would be waved over to chat with host Johnny Carson. That didn’t always happen but did in her case. He famously praised her "you're gonna be a star" accordingly launching an extraordinary career.
As a frequent guest she earned top ratings. Eventually, she was his designated replacement when Carson took time off. They became close with Carson as mentor and friend. Known to be petty and vindictive he could make or break careers for which he demanded unflinching fielty.
Nearing retirement, however, her producer husband, Edgar Rosenberg (the excellent Andrew Borba) obtained a list of potential successors. She was not on it. The suits, it seemed, would not consider a woman as permanent host. He managed to strike a deal for a late night show, head-to-head with Carson’s on the emerging Fox network. The news was leaked to Carson prior to her phone call which he hung up on. She was banned including by two of his successors. She briefly returned on the first show by host Jimmy Kimmel.
After a two year struggle Fox fired Rosenberg and cancelled her show. There is a scene between Joan (Tessa Auberjonis) and her husband. The language and accusations are devastating. He argues that he created the opportunity and she counters that he ruined it. Not long after Edgar was found dead in a hotel room leaving three notes: to Joan, their daughter Melissa (well played by Elinor Gunn), and his best friend.
Eventually, his suicide was worked into her comedy routine. It was typical of her facing the unthinkable with a joke. She said "Listen, when I think of the way he makes me crazy, I really wonder if they didn't execute the wrong Rosenbergs." Much of her humor, including vagina quips, were self deprecating. “All I want is to be funny, and I will not quit until I make the whole goddamn world laugh,” the young Joan (Gunn) says. “It [her career] comes first — not a husband, not children.”
To the many offended by her savage humor she said "I've learned to have absolutely no regrets about any jokes I've ever done ... You can tune me out, you can click me off, it's OK. I am not going to bow to political correctness. But you do have to learn, if you want to be a satirist, you can't be part of the party.”
A lifelong Republican, Nancy Reagan was a shoulder to cry on following her husband’s suicide. She and Melissa appeared on Celebrity Apprentice which Joan won after Melissa was fired. Donald Trump became a close friend and attended her funeral.
There is so much material about Rivers, including several best selling books, that it was daunting to cram it all into one, hundred-minute act. As a play about Rivers abridged this was a compelling experience of theatre. Her complex relationships, with Edgar and their daughter Melissa, are fleshed out with precision. Melissa, stunningly performed by Gunn, emerged convincingly as daughter, best friend, and business partner. They were renowned for their Red Carpet celebrity interviews.
The technical aspects of this play- sets, costumes, lighting-sound- are all top notch. There are many scenes with an array of vignettes. For these Zachary Prince is convincing in a fistful of cameo roles.
Where this production comes up short is in its most vital mandate. Simply put, it is not that funny. The dry vagina gags are pitched to the dominantly older women in the audience as are the ethic jokes that got solid laughs. Nobody, however, was rolling in the aisle.
The play opens with a raunchy and raucous monologue. It felt more like an actress doing her material than Rivers herself. The presence and memory of Rivers is too ubiquitous. For me the point of comparison was her April 18, 2013 performance at the Colonial Theatre in Pittsfield.
It was a year before her death and she still had comedic chops. She roamed and paced the stage like a very funny panther. The jokes were written out on large cue cards strewn on stage under her feet. It seemed odd but perhaps, at her age, she was leaving nothing to chance.
She left a vivid and indelible impression as one of the legendary performers of her generation. It was daunting for this play to compete with that compelling memory.