Max Wolf Friedrich’s Proving Fantasy Thriller work There’s no time to drop viewers into the already ongoing, disastrous standoffs. A young woman in jeans and a young woman in hoodies, painted with rivet strength by Jordan Slattery, Jane is a slightly older, unarmed man (Eric Hisssom) in a seemingly warm and cozy office. ) is aiming for a gun to Lloyd. She doesn’t try not to do what she’s trying to do.
Of course, it is the old “you might wonder if we came here” Gotcha, and it works here. The audience must wait to see if Lloyd’s persuasive power can surpass Jane’s trigger finger. First, Friedrich didn’t start us from the start, and up to some point in this office, this life and death scenario would have seemed unthinkable to Lloyd at least.
Therefore, he and Jane engage in an old duel between the patient and therapist, and as Parry gets engaged and their little dance works towards the fateful moment when the gun enters the picture, the suspense is built in. It’s there.
Most often, director Matthew Gardiner and his cast are tightly choking that suspense wound around these two people’s simple front and back. Their sessions, like the play, are compact in shape, yet extensively covered in the local and emotional grounds they cover. Lloyd’s homely office feels that all the anguish Jane struggles to express, or too small to contain the potential eruption so that her trauma bubbles to the surface.
To that end, Luciana Stecconi’s appointed set is spacious in the sense of reality and appropriately registered as claustrophobic. For some reason, we all feel like we’re in that office waiting for something to blow. And despite all the effort, Lloyd relaxed with a free and bracelet, assuming it depends on creating this soothing, safe space or creating himself. In a sweater, he looks friendly and friendly, but his safety and comfort are very fragile.
There are dangers awaiting us within this Bay Area office. Rather, she walks through the door that looks rather innocent. Slatary conveys a raging storm swirling in the quietly-looking Jane without the actor’s fuss. “I can’t be outside,” she says.
She is a tough job in the moderation of internet content, physically, mentally and emotionally, and not only reveals cat videos and gender, but also the absolute worst “wicked” people post online. I realized I was touching on people. Jane. It affects her mind, and their effects continue to permeate her life uncontrollably.
In an annoying moment, she is troubled by what she sees and becomes scared and Zoze. Her horror is proposed with Kenny Neal’s inspiring sound design and Snapchat-style sound bits painted through Colin K. Bills’ clever lighting. Jane also details Lloyd about some of the sleazy content she has encountered, and those stories assume a kind of true criminal plot.
But it’s all second hand. Friedrich does not dramaticize Jane’s past experiences, but scrutinizes her work trauma, childhood and relationships in hindsight. As she pores in her past thoughtfully urged by Lloyd, their sessions are repetitively emotional, or we look into the adversity of Jane’s life, and the internet and society. I hit that I was ignoring the weeds that looked up all the wrong things. That led her here.
Then, in real time, the play is turned and we are once again trapped in the tension of the hair triger in that office. Slattery holds us in Thrall until the last moment and draws strong conclusions.
Job (★★★☆☆) It will be held until March 16th at the Signature Theater at 4200 Campbell Ave. in Arlington, Virginia. There will be a Pride Night performance on February 21st, and a discussion night performance on March 12th. Tickets are $76. Call 703-820-9771 or visit www.sigtheatre.org.
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