Peter Friedman, Sydney Lemmon (Photo: Emilio Madrid)

JOB

By David Schultz

After two sold out runs downtown, this probing drama has moved to Broadway. Director Michael Herwitz marshals this two-hander with an undercurrent of suspense that quickly intensifies as the evening progresses. Written by 26-year-old playwright Max Wolf Friedlich, this 80-minute roller coaster ride jolts audiences from the first scene, as Jane (Sydney Lemmon), shakily aims a gun at her therapist, Loyd, (Peter Friedman) in his office. Amazingly, Loyd is able to calm her down, get her to return her gun into her bag, and coax her into a semi-calm state as she paces the room and tells him of the reason she is at his office.

Jane has been assigned to see this therapist by her uber-tech corporation in Silicon Valley. It seems she has been forced to take a leave of absence after she had a very public meltdown at work, which was filmed by her co-workers and went viral. This therapy session will determine if she can return.

The incremental details of her mental anguish are slowly revealed. Much of the disturbing plot is kept hidden, but the emerging details of what her job entailed are interspersed with discussion of the disparity of their respective ages, the Internet, over-reliance on cell phones, the effect of technology, and various websites. Jane the Millennial, and her Baby Boomer doctor have much to rail against.

Much of this back and forth is interesting to a degree. But this is just filler for what playwright Friedlich really has in mind. The work that Jane is involved with is extremely unpleasant. She works under the euphemistic title of "User Care". She must screen disturbing content (self-mutilation, torture, child abuse, murder) and drop the videos into the trash bin. But the horrific accumulation of visual stimulation has had a distinct effect on her mind and soul. 

Peter Friedman, Sydney Lemmon (Photo: Emilio Madrid)

The concerned Doctor gently probes Jane for further insight into her emotional wellbeing. On occasion her heightened state is emphasized by blaring sound cues and flashing lights (sound design from Cody Spencer, lighting designer Mextly Couzin) that are shown in the rear of the stage. These aspects stop the show in oddly frozen moments with buzz saw grinding sounds intermingled with orgasmic high-pitched moans, and screams. Are these sounds channeling Jane's inner turmoil, or is she triggering? In either case it's rather heavy handed, jarring and unnecessary.

The playwright carefully plants a bountiful number of clues to the sudden twisty demonic reveal, as the play ends on a grisly note. The entire play has been building to this gasp-inducing moment and the audience is warily unsure if what is divulged during the denouement is real, or merely a psychotic fantasy. Not unlike the play Doubt, there is a lingering tension of whose truth is real, and the final moments are hair raising and creepy.

The two leads are impeccable and work splendidly together. Their uneasy rapport is riveting. Ms. Lemmon has a gazelle-like demeanor with a coiled tension in her movements (she might freak out in any moment). Her garb is casual & self-aware chic clothing that hangs on her petit frame, and the de rigeur Apple watch...natch. Equally, Mr. Friedman has a crafty way of listening to his client, with a mysterious hidden past that his facial expressions on occasion might reveal in subtle ways. His clothing harks back to a casual hippy, bohemian corduroy vibe. Costume designer Michelle J.Li nails both looks in an unobtrusive way.

Scenic design by Scott Penner gives the doctor's office a decidedly avant-gardist and artsy look indicative of the 60's in Northern California. Minimalist yet claustrophobic, this environ is the perfect space for this descent into Hell.

JOB

At The Hayes Theater

240 West 44^th Street

Through October 27th