Broadway’s hit thriller. Now extended through Oct 27.
Following two extended, sold-out downtown engagements, Max Wolf Friedlich’s play Job is now this summer’s “chic, relentless Broadway thriller. Job is extremely effective, often funny, with excellent performances.” – The New York Times
After being placed on leave following a viral incident, Jane would do anything to return to her Big Tech–company job. But as the therapist who needs to authorize it, Loyd suspects her work might be doing more harm than good.
Starring Tony Award® nominee Peter Friedman (Ragtime, “Succession”) and Sydney Lemmon (Tár, “Fear the Walking Dead”), “Job is very provocative, stimulating, and daring—you won’t be bored for a millisecond” (Chicago Tribune). Don’t miss this “electrifying” (Variety), on Broadway through October 27 only.
This twist apparently disturbs me more than other theatergoers, even those who agree it is misguided. But to me it fits into a pattern I’ve noticed among emerging playwrights that arguably reflects the pernicious influence of film and TV. The play is full of tension, and twists, in a way that reminded me of several plays over the past few years – such as Small Engine Repair by John Pollano, Office Hour by Julia Cho, Blackbird by David Harrower – that offered shock for shock’s sake. Ironically, the effect of “Job” on the audience feels analogous to something that Loyd warns happens to people who spend too much time with their smart phones — the “slow drip of dopamine” that stimulates them with sensation but stops them from thinking.
For all the effective stagecraft on display, however, Job (even the title, which many people will assume refers to the Old Testament book, is deliberately confusing) mainly smacks of gimmickry. It’s a psychological thriller that relies too heavily on cheap thrills.
2024 | Off-Broadway |
Off-Broadway Return Engagement Off-Broadway |
2024 | Broadway |
Original Broadway Production Broadway |
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