When Jane, a content moderator for a major tech company, has a screaming meltdown at work that goes viral, she is put on leave and can only return on the condition that she get the okay from a crisis therapist. Determined to be reinstated in the position that gives her life meaning and power, she finds Loyd, arrives at his office, and the ensuing session has even higher stakes than expected, in Job, now in its Broadway debut at the Hayes Theatre, following sold-out Off-Broadway engagements at SoHo Playhouse and the Connelly Theatre over the past year. Written by Max Wolf Friedlich, the intense and intimate two-hander is filled with revelations, punctuated with dark humor, and left at the highest of pressure points, with an unexpected twist that will keep you guessing.
Starring the original Off-Broadway cast of Sydney Lemmon as Jane and Peter Friedman as Loyd, and set in January of 2020 (just prior to the pandemic) in his spacious comfortably appointed office in downtown San Francisco (set by Scott Penner), the story pits female against male, Millennial against Hippie (in costumes by Michelle J. Li that accurately define their ages), and addresses such momentous issues as the lure and dangers of the internet, mental instability and gun control, abortion and parenting, relationships and connection, accountability for one’s actions and vigilante justice. Directed by Michael Herwitz, the compelling actors fully embody the roles and deliver the distinctive personalities, demeanors, speech patterns, and socio-political perspectives with spot-on characterizations that will make you think, laugh, and tremble.
In a superb portrayal, Lemmon captures all the angst of Jane’s deeply disturbed mind, slowly opening up to her chosen therapist, dropping sardonic jokes, launching into lengthy harangues, and asking him as many questions as he does her, with the authentic vocal and physical stylings of her generation. Her entire body reflects her uncontrolled anxiety, as she moves around the office, standing, pacing, sitting, shaking her legs and tapping her feet, taking objects in and out of her bag, and experiencing panic attacks and violent flashbacks to the horrific posts she’s seen and flagged at work, triggered by the probing conversation and judgment by – and of – Loyd. Through sudden dramatic episodes of violent lighting (by Mextly Couzin), turbulent sound (by Cody Spencer), and disquieting original music (by Devonté Hynes), we get glimpses into her profoundly troubled psyche and the traumas that brought her to this point, in a job that’s proven to be as harmful to her as it is helpful in protecting others.
Friedman’s Loyd provides the perfect foil to Lemmon’s Jane, remaining mostly calm, logical, and professional, getting her to share her background and beliefs, offering insights into her situation and mental state, and reciprocally answering her questions about his personal life, as the control of the session passes back and forth between them. Ultimately, he learns the truth about what brought her to him, in a surprisingly uncharacteristic development, with an ending that makes us wonder if it’s real or another manifestation of her unhinged mind, and how it will all play out.
Job is a suspenseful psychodrama that entertains, enlightens, and unsettles, raising important questions about the digital age, our obsession with virtual reality, its impact on our behavior and self-image, and our ability to function in the real world, with captivating performances, direction, and design that bring home the message.
Running Time: Approximately 80 minutes, without intermission.
Job plays through Sunday, September 29, 2024, at the Hayes Theatre, 240 West 44th Street, NYC. For tickets (priced at $59-259, including fees), go online.
