JOB NYC Reviews and Tickets
Member Reviews (49)
See it if a peak into the complex stress levels a job can bring an individual is just the perspective you've needed about your on work place drama.
Don't see it if a story about someone who is dealing with a STRESSFUL work situation is too triggering for you because this play will set you off for sure! Read more
See it if You care about mental health and the pressures modern life with technology. There's also a great a twist at the end
Don't see it if You struggle with content surrounding mental health and traumatic material.
See it if You like fast paced psychological thrillers. Fabulous nuanced performances small intimate theater
Don't see it if The ending was a bit of a curve ball. Not sure it entirely works
See it if You love fast-paced dialogue that goes back and forth. You like either actor's previous work; both are great here.
Don't see it if You need a strong opening and closing. Read more
See it if You like smart, quick dialogue. You like the idea of 2 actors going at it like a tennis match.
Don't see it if You need a satisfying arc/conclusion. Read more
See it if A deep, dark play. 2 good actors. Good story. Should come uptown to off Broadway.
Don't see it if If you don't like psychological thrillers.
See it if you enjoy small-scaled plays. Acting, suspenseful plot, staging and lighting - show was pure quality. I was mesmerized for the full 80-mins.
Don't see it if you want to stay away from work-themed trauma. It takes place in a therapy session and some explicit dialogue may be triggering. Read more
See it if Taut thriller full of complex ideas, with a gripping finale
Don't see it if trigger issues
Critic Reviews (14)
‘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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Max Wolf Friedlich’s "Job" is as tense as a thriller, as compelling as a psychological drama and as up-to-date as tomorrow’s headlines. As directed by Michael Herwitz, Peter Friedman and Sydney Lemmon are living their roles, rather than just acting them. While the play will grab you by the throat while you are in the theater, it will give you a great deal to think about after you leave. In that it resembles other two-character plays by such authors as David Mamet and Harold Pinter. It is to be hoped that the play will be extended or better yet moved to a larger theater so that more people will be able to see it.
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