Peter Friedman and Sydney Lemmon are awesome in playwright Max Wolf Friedlich’s galvanizing psychological thriller about an aged therapist and a troubled young tech worker that has been brought to the stage with high-caliber theatricality.
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‘Job’ Review: A Stress Test That Feels Like It’s Life or Death. In Max Wolf Friedlich’s nimble play, a crisis therapist tries to connect with a tech worker who is broken by her profession.
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“Behind the gun and the ever-increasing ghoulishness, ‘Job’ is, in essence, a parable of generational disempowerment and rage...’Job’ isn’t the kind of play in which spoilers don’t really matter. It’s built for the big drop, and to find out exactly what hellish depths it plummets to, you have to see it.”
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“ ‘Job’ springs a sensational and implausible twist, then subsides on an ambiguous note. But even the ambiguity is possibly an alternate reality, since we cannot be sure in this willfully murky drama where the truth lies.”
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“A two-person psychological thriller that pits an older man ostensibly in a position of power against a younger woman who is not afraid to seize it by any means necessary, ‘Job’ is Oleanna for the digital age, in which the stakes are much higher and the competition among America’s superfluous elite is even fiercer.”
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“Jane is a woman with a plan, and her method of seeking moral redress -- not to be revealed here -- is patently, almost laughably, unbelievable. It's also tasteless: In using certain techniques of the thriller format to explore one of the ugliest crimes that humanity can commit, Friedlich trivializes his intentions. Job intends to shock but ends up merely offensive, a brazenly manipulative shocker that leaves a bad taste in one's mouth.”
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“A bigger problem, and one that can't be resolved by the director, actors, or theatrics, is the play's instigating premise. While there is much to enjoy in the peeling back of the characters' emotional layers, I had trouble moving beyond the initial set-up...Illogical elements aside, there are admittedly enough dramaturgical pyrotechnics to keep everyone except the most curmudgeonly reviewers riveted. Consequently, fans of stage thrillers will find a great deal of satisfaction in this ‘Job.’ ”
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“Through the ‘Job' course, she’s [Lemmon] asked to run the gamut of emotions from A to way beyond Z and often in long outbursts. Tall and lean, she supplies the script demands here so forcibly that she eventually gives the appearance of an especially imposing exclamation point.”
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