Interludes

THE HANGOVER REPORT – Crackling performances ignite Max Wolf Friedlich’s psychological thriller JOB on Broadway

• By drediman
• July 31, 2024
• No Comments

Last night, Max Wolf Friedlich’s succinctly yet aptly titled Job opened at the Helen Hayes Theater on Broadway. The play premiered to great acclaim last fall at the very cozy SoHo Playhouse, where it proved to be a sell out, prompting the subsequent move to slightly larger Off-Broadway digs at the Connelly Theater in the East Village, where it attained a sort of cult status among New York theatergoers. The explosive and sensationally acted two-hander — which is basically a therapy session gone haywire — now finds itself on the Great White Way, where it hopes to strike a chord with mainstream audiences and generate the same kind of excitement that it did downtown.

Upon second viewing, I’m happy to report that Friedlich’s taut psychological thriller holds up well, particularly good news given its much larger current home (the Hayes practically dwarfs both the SoHo Playhouse and the Connelly). If anything, the collective gasps and sense of tension from a larger audience actually work in the play’s favor, more than compensating for the loss in intimacy on the journey uptown. In more ways than one, the work — in essence a hybrid between a revenge play and a battle royal between the sexes (and generations) — calls to minds David Mamet’s 1992 two-hander Oleanna. But instead of that earlier work’s vaguely wrought (albeit heated) exchanges, Friedlich’s play ultimately hinges on the details. Indeed, over the course of the work’s unpredictable, masterfully paced 80-minutes, the playwright — who manages the impressive feat of largely staying one step ahead of the audience — sinuously reveals key information in (mostly) real time, keeping the audience off-balance until the shocking and unnerving final tableau. Even on my repeat visit, I found myself on the edge of my seat, which is a testament to the skill with which Friedlich has plotted his play and pitted his two characters against each other.

The production has been tersely and at times surreally directed by Michael Herwitz and continues to feature crackling performances by Sydney Lemmon and Peter Friedman. Lemmon is both disturbing and disarming in her portrayal of a deeply troubled young woman who has been let go from her stressful job (no spoilers here). In turn unhinged and incredibly lucid, it’s a searing performance that really got under my skin. Playing her therapist and foil, Friedman on the other hand seems to be the voice of reason for much of the play — until the integrity of the character is called into question (again, no spoilers!). It’s a subtle piece of acting that contrasts gorgeously with Lemmon’s combustible performance. 

HIGHLY RECOMMENDED

JOB
Broadway, Play
Helen Hayes Theater
1 hour, 20 minutes (without an intermission)
Through September 29