JOB - Broadway

The psychological thriller JOB, begins, almost literally, with a bang.  The premise of the one-act show is outwardly simple – a client (Jane), a user-care employee at an unnamed Internet giant, has a severe meltdown at work that, unfortunately, goes viral.  She now must seek approval of her mental fitness from a therapist, Lloyd, in order to return to work. 

 

Sydney Lemon and Peter Friedman in JOB.

Jane is a young professional who, at times, rants about her personal and corporate life and technology and its usage.  She can be combative and sarcastic.  Her inner thoughts – her demons - are displayed by harsh lighting (Lighting Designer Mextly Couzin) and blaring sounds (Sound Designer Cody Spencer) emanating from small, rectangular boxes affixed to the back of the stage.  Jane, we soon discover, has a need to protect the public with the power and responsibility she possesses combing and then ridding the Internet of really bad stuff.

 

Her gatekeeper back to the working world is Lloyd, a 60ish therapist, an aged hippie with a high opinion of himself and his abilities.  He cajoles, argues and just talks with Jane seeking mitigating factors for her behavior and attitudes.

 

Max Wolf Friedlich’s play is full of drama and can have audience members at the edge of their seats.  At times JOB becomes somewhat talky and meandering, but there is a method to the twisting threads embedded in the show as well as hints for the climatic finish.

 

Peter Friedman and Sydney Lemon in JOB.

Director Michael Herwitz, working with Scenic Designer Scott Penner’s simply decorated office setting, keeps the tension high, While the two characters are sitting through most of the show, Herwitz skillfully mixes up the tête-à-têtes with jumpy movements and adeptly integrating Jane’s internal thoughts into the production.  There’s also the gun.  Did I mention a gun?

 

The cast is superb, led by Sydney Lemon as Jane.  The actress brings a focused intensity to the role that is unnerving, pathetic and heartbreaking.  She can nimbly change gears from chillingly calculating to icily rational.  Peter Friedman’s Lloyd has an affable air, a fatherly quality.  The actor deftly balances a clinician’s concern and probing with arrogance and self-importance. 

 

JOB, a smart, clever thriller and a welcome addition to the Broadway stage.