THEATRE REVIEW: "Job" at the Helen Hayes Theatre (New York, NY)

      On August 8th, 2024 I saw the 5pm performance of the Max Wolf Friedlich play "Job" at the Helen Hayes Theatre in New York City.  The Broadway Production began previews on July 15th of that year, and officially opened July 30th.  The limited Broadway Engagement of "Job" runs through October 27th, 2024.  The World Premiere of "Job" performed at the SoHo Playhouse beginning September 18th, 2023 (after beginning previews September 6th of that year).  After the World Premiere Engagement of "Job" closed October 15th, 2023, it reopened at the Connelly Theatre, performing from January 19th through March 23rd, 2024.  Both of these sold-out Off-Broadway engagements preceded the astounding Broadway Production that I saw (while I didn't see the SoHo Playhouse presentation of "Job," I did see a production there with my grandma in 2001.  To read that blog post, click HERE).

     This riveting production of "Job" starred Peter Friedman and Sydney Lemmon.  In fact, they made up the entire cast of this play.  I recognized Peter Friedman's name, and voice, from the Original Broadway Cast Recording of "Ragtime" (he played the role of Tateh).  I have also watched a few seasons of the t.v. series "Succession," which he starred in.  Sydney Lemmon was on "Succession" also, but I didn't recognize her from the show, and was not as familiar with her work.   But there were times in this play when she absolutely stole the show.  

The marquee of the (Helen) Hayes Theatre (I took this photo).  This venue, formerly the Little Theatre, is not to be confused with the Helen Hayes Theatre that was built in 1911 and demolished in 1982.

     Sydney Lemmon plays Jane, who is sent to a therapist (played by Friedman) following a mental breakdown at work.  It is up to the therapist whether or not Jane can return to her job.  However, as the plot unfolds (gradually at first, then at break-neck speed)  it turns out that Jane has a reason, and purpose, for crossing paths with the therapist.  I should have assumed as much since she came armed to her session.  However, the rest of the audience seemed as surprised as I was when more and more was revealed.  With truth-bomb after truth-bomb.... with one vivid description of societal cruelty after an other... the discussion is suddenly steered sharply back into the therapist's office--and to the therapist himself.  I hope I am keeping things vague enough not to give too much away.

     

     With this show, I did not win the ticket lottery.  Rather, I obtained a rush ticket the same day as the performance.  It was no more expensive than a ticket won through a ticket lottery.  Also, this was the latest show I've seen in awhile.  Usually I see plays and musicals that start no later than 3pm, since I travel to Manhattan from upstate.  But I figured I wouldn't get home too late after seeing this one-act play with no intermission.  I was thrilled with the ticket I got--being that it was for a seat in the center section of the front row.  Also, it almost felt like an immersive performance, especially when one of the actors threw a pen and it landed at the edge of the stage just two seats away from me.  As the audience was exiting the theatre, two production crew members rushed over to the pen with relief.

POV Playbill Photo taken from my seat in the front row.

     Whether this was due to Scott Penner's scenic design, Mextly Couzin's lighting design, Cody Spencer's sound design, or all three, I loved the sheer chaos that would ensue when Jane got lost in thought.  These odd panels would light up in the vast darkness that surrounded the therapist office.  Also, a combinations of loud voices, moans, or shouts would ensue.  On another note, Devonté Hynes was the conductor of the orchestra music that transpired once or twice in the show.  He joined the show when it transferred to Broadway. 

          This play, and its chilling finale, isn't quite a thriller.  But it is close to being one.  That doesn't make it a bad show.  Also, thrillers don't always have a message to carry as far as what's right and wrong.  A varying level of atrocities are talked about in this play.  With the fugue states accompanied by loud noises and bright lights, it was hard to keep track of all of them, ot even know we were supposed to.  I'm glad I didn't guess tbe ending though.  The surprise finale caused an adrenaline rush, which in turn gave me extra energy for my walk to the train station after the show.   Besides the adrenaline rush, I felt gratitude for having things so well.  I mean, front row center!  Plus, I didn't get pelted in the forehead by a flying pen (not to be misread as "frying pan").

Peter Friedman and Sydney Lemmon in the Max Wolf Friedlich play "Job." (Photo by Emilio Madrid).