A Riveting “Job” Reveals the Dangers of Our Digital Age at Signature Theatre
JOB Signature Theatre Jordan Wright February 7, 2025 Special to The Zebra
Eric Hissom (Loyd) and Jordan Slattery (Jane) in JOB at Signature Theatre. Photo by Christopher Mueller
At first glance Jane (Jordan Slattery) presents as a young woman in the throes of a nervous breakdown. When this hyper-intense psychological thriller opens, she is aiming a revolver at Loyd (Eric Hissom), a therapist whom her tech company has mandated she see before being approved to return to work. “I’m not afraid of you,” he tells her. “Maybe you should be,” she replies. Jane is bright, articulate, sensitive, and coming off a failed romance. Suddenly, she turns the gun on herself.
Loyd eventually settles her down in his cozy San Francisco office. Ultimately, Loyd convinces Jane to reveal her innermost feelings. As she begins to open up to him, she pulls out her cell phone and shows him a viral video taken by a co-worker filmed in the heat of her workplace freakout. During their session we learn her family is well educated – her father an artist, her mother a professor who both ignore her. “In the real world nobody has time for me,” she tells him. She seems dissociative and out of control. This is no ordinary freak out. Jane’s facial features contort each time she loses her grip on reality. As she spirals downward the lights on the set, and in the theater itself, flicker, crackle and fail before coming back on to reveal a fresh scenario.
Jordan Slattery (Jane) Photo by Christopher Mueller
Jane has a dystopian view of the world. She frowns on capitalism and believes the rich make all the rules. But as their convo progresses, you’ll wonder if it isn’t Gen Z who are setting the rules. And though Jane claims a lot of her personal satisfaction comes from social media, she admits it causes her paranoia.
In this two-hander the dialogue is micro-focused on each characters’ fears. Loyd’s, that she will kill him, and Jane’s, that she will. We learn this because Jane probes Loyd with personal questions about his family life. When Loyd learns her job as a social media content monitor flagging videos that reveal the depths of the world’s depravity, her psychosis begins to come into focus.
Eric Hissom (Loyd) and Jordan Slattery (Jane) Photo by Christopher Mueller
What’s so fascinating about playwright Max Wolf Friedlich’s taut thriller is how cleverly it addresses the generational differences between Loyd and Jane. She, consumed by the internet in work and social interactions and Loyd living a private internet life. Just when you think you’ve figured out where this edge-of-your-seat story is headed, it literally flips the script. As the playbill describes it, “Job explores who is online, how much screentime is too much, what is real versus perception, the psychological damage of it – and who or what benefits from the exposure.” That’s a question we all need to ask ourselves. Hissom’s and Slattery’s sharp portrayals, give this intense new work the heft it needs to be totally convincing.
As a fan of true crime in all its peculiarities, I found the twists and turns riveting. Brilliantly directed by Matthew Gardiner, it is not for the fainthearted, but it is unforgettable and important. As playwright Friedlich posits, “What is the human cost of our internet?”
Recommended for its revelations into the psychological effects of our digital age in an ever-shifting landscape.
Eric Hissom (Loyd) Photo by Christopher Mueller
Scenic Design by Luciana Stecconi, Costume Design by Alexa Cassandra Duimstra, Lighting Design by Colin K. Bills, Sound Design by Kenny Neal.
JOB runs through March 16th at Signature Theatre, 4200 Campbell Avenue in Shirlington Village, Arlington, VA. For tickets and information call the box office at 703.820.9771 or visit www.SigTheatre.org.
Interview with Broadway Actor Liz Larsen Now Appearing at Arena Stage in Sarah Silverman’s The Bedwetter – A New Musical
Jordan Wright February 3, 2025
Liz Larsen
For Broadway, film and TV actor, Liz Larsen, a return to Washington, DC and Arena Stage since winning the Helen Hayes Award for Sunday in the Park with George in 1998, it is a very exciting time. In advance of attending opening night for Sarah Silverman’sThe Bedwetter who plays Sarah’s grandmother, Nana, I took the opportunity to chat with her about her career. Full Disclosure: Liz Larsen is my niece.
———
Jordan Wright – In 1998 you performed at Arena Stage in the DC production of Sunday in the Park with George where you played Dot, the female lead, winning the Helen Hayes Award for “Best Actress in a Musical”. So let me just say, after all your years dazzling audiences on Broadway, a Tony nomination for The Most Happy Fella, and a Helen Hayes nom for Baby, we’re thrilled to have you back in town. For those who wonder why we haven’t seen you here in ages, you’ve been on Law & Order in various roles for 15 years plus roles in The Americans, Madoff, Mr. Robot, The Sopranos and many more TV series. On Broadway you were featured in half a dozen major productions. As many of your fans know, your longest Broadway run (six years!) was in The Carole King Musical playing Carole’s mother.
Currently you’re co-starring as Nana in the DC premiere of the Sarah Silverman semi-autobiographical musical, The Bedwetter, based loosely on her eponymous book. Just to let readers know, if they saw its highly acclaimed Off-Broadway run, the show now has a new book with additional music and lyrics by David Yazbek (The Band’s Visit). The role casts you as the grandmother of ten-year-old Sarah who struggles with the embarrassing condition of wetting her bed along with the many stresses kids have when entering a new school and dealing with being an outsider. Let’s talk about your role as the grandmother. Is there another role you might have done in the past to channel a grandmother?
Liz Larsen – I recently played the grandmother in Sunday in the Park with George in LA which was very full circle for me having played Dot. Now I’m playing a lot of mothers of grown children and grandmothers.
JW – Tony nominee, Anne Kauffman is directing. What’s the most challenging part of working with a new director?
LL – Absolutely nothing. She’s fantastic. I know that she trusts me and I trust her. I try to figure out the “voice” of the character with her. There’s a tone to this because it’s heartbreaking and yet it’s hilarious. There’s also a certain style to this piece that needs to be figured out and we’re all doing it on our feet. It’s very collaborative. What I enjoy is playing someone who is a real person. Like when I played Carole’s mother in “Beautiful” I liked learning about her. What’s amazing about Sarah’s mother is that she pulled herself out of a ten-year depression and went on to do great things in theatre.
Liz Larsen as Dot in Arena Stage”s production of Sunday in the Park with George
JW – You’re good friends with Ashley Blanchet who plays Miss New Hampshire and was one of the cast members in the original production. Have you worked with her or any of the other cast or crew members before this production?
LL – Ashley and I worked together in Beautiful. She played Little Eva. And Shoshana Bean, who won a Grammy last night for the “Best Musical Theatre Album” of Hell’s Kitchen, and I played in Hairspray together on Broadway in 2003. Davidand I worked together on Broadway in Dirty Rotten Scoundrels and The Full Monty. [David Yasbek, composer/lyricist of The Band’s Visit, wrote additional music and lyrics for this show]
Liz Larsen
JW – What’s your preparation process?
LL – For this particular show, I practiced a Boston accent and her voice. Because she’s a smoker, I make my voice lower. And I walk a certain way because she’s in her 70’s.
JW – Do you have a routine before you go onstage?
LL – You’re gonna laugh, but gummi bears. They stimulate the saliva and moisten your throat.
JW – Favorite go-to snacks and food cravings?
LL – Just plain milk chocolate – no nuts, no caramel. Every single day of my life! It’s been great being in DC with the theatre across the street from The Wharf. I love seafood and they have great crabcakes here.
Liz Larsen in The Baltimorons
JW – What do you do in the rare times you’re not onstage or on camera?
LL – I like to cook – chicken soup with the whole chicken and matzoh ball soup. When I’m home I cook for my family and friends every night. And I love to read. Currently I’m reading Barbra Streisand’s audible book, “My Name is Barbra”. She narrates it. In it she tells what she ate and what she wore, and I love that. The other thing is swimming.
JW – You travel with your little dog, Finn. Is that for luck or comfort or both?
LL – It’s everything! I can’t be without him. Ashley and Shoshona have their dogs here too.
JW – What’s new career-wise?
LL – For the first time in my life, I was offered the lead in a movie. We shot it in Baltimore and now we’re all going to Austin for SXSW where it’s premiering later this month. It’s a buddy film – a romance. My co-star is 35 years old. I never thought that would happen! In it we spend 48 hours together at Christmas. It’s called the “Baltimorons”. Indie filmmakers Jay and Mark Duplass are the producers and directors.
JW – What is the one role you’d like to play?
LL – There have been roles I wanted to play like Mama Rose, but I feel like the role I’d want to play hasn’t been written yet.
This interview has been lightly edited and condensed.
World Premiere Schmigadoon! is a Wacky, Wonderful Spoof of Early Broadway Musicals Now at the Kennedy Center
Schmigadoon! The John F. Kennedy Center for the Performing Arts Jordan Wright February 3, 2025
Sara Chase, McKenzie Kurtz, and Alex Brightman (Photo/Matthew Murphy and Evan Zimmerman)
There was such a tremendous reception from the audience for every pun, joke, dance, slow burn and musical number throughout the sell-out performance of Schmigadoon! I attended last night, that I had to wonder what in the Sam Hell was up. The rousing applause and laughter were something I’d expect from avid theatregoers who come to a show having seen it before, maybe many times over, and are huge fans. I had to do a little digging to discover what the heck is the secret sauce to its immediate unquestionable success – especially given that the show is a spoof on old time musicals from the 50’s and 60’s and there was a young audience in total thrall.
If you didn’t see it, the series premiered on Apple TV + featuring a well-known cast of television and B’way superstars. Fans followed two seasons of episodes, and it was a huge hit winning kudos and awards along the way. Fast forward to this brand-new, live stage iteration and there’s your audience… plus anyone who grew up with these earlier musicals. To identify a few of the original tunes taken to hilarious heights, I thought I recognized The Music Man, Brigadoon (naturally), Carousel, Oklahoma, South Pacific and How to Succeed in Business Without Really Trying. When you figure out the rest, let me know.
Emily Skinner and the cast of Schmigadoon (Photo/Matthew Murphy and Evan Zimmerman)
For those unfamiliar with the story, it focuses on a young couple who have both literally and figuratively lost their way while on a weekend camping trip when they cross a bridge to find themselves in the throwback 1910’s in the mythical town of Schmigadoon. These two medical doctors, Josh and Melissa who are in the midst of a lovers’ spat, live in present-day New York City. In this retro, small town USA they find they are entirely out of their element, both socially and politically as they discover a community driven by Puritan values and yesteryear’s ignorance. But wow, can these small-town guys and gals sing and dance! As they say here, in a twist on the old trope, “Yee hawk”.
Eloise Kropp, Sara Chase, and Phillip Attmore (Photo/Matthew Murphy and Evan Zimmerman)
This world premiere musical has a cast chock-a-block with beloved Broadway, film and TV veteran performers who sang their faces off to an audience who hooted and hollered with glee. So did we. It’s silly, sweet and infectious, while harkening back to a Victorian era when love was as pure as the driven snow and pre-marital sex and having babies out of wedlock was beyond the pale. All that makes for some wacky scenarios as Josh and Melissa thread their way back to their love for each other helped by an adorable town crier kid, Carson, who damn near steals the show.
Linda Cho’s costumes reflect vintage country with the ladies in floral prairie dresses and the men in Victorian daytime formal wear or farm togs with high-waisted trousers held up by wide suspenders. Director and choreographer, Christopher Gatelli steers the chorus line into some serious high-stepping dance moves from kicks, leaps and flips to a brilliantly executed tap number.
Alex Brightman and the cast of Schmigadoon (Photo/Matthew Murphy and Evan Zimmerman)
You will lean in close to pluck out Book, Music and Lyrics Composer, Cinco Paul’s references to past musicals. I had alternate tunes from early musicals running rampant in my brain while trying to focus on the music at hand. I cadged a few (see above). Unfortunately, the program gives no hint. There’s your challenge.
For old school aficionados of period Broadway musicals plus the younger audience who followed the TV series (did I leave anyone out?) this wacky, wonderful, farcical musical is for you.
09_Brad Oscar and Kevin Del Aguila_Photo by Matthew Murphy and Evan Zimmerman
Starring Alex Brightman as Josh, Sara Chase as Melissa, Ann Harada from the original cast as Florence Menlove, Brad Oscar as Mayor Menlove, Emily Skinner as Mildred Layton, Ryan Vasquezas Danny Bailey, Javier Muñoz as Doc Lopez, McKenzie Kurtz as Betsy McDonough, Ayaan Diop as Carson Tate, Isabelle McCalla as Emma Tate, Kevin Del Aguila as Reverend Layton/Leprechaun with Phillip Attmore as Freddy, Brandon Block as Buford Riggs, Holly Ann Butler as Helen Pritt, Max Clayton as Larry the Fireman, Kimberly Immanuel as Zaneeta, Eloise Kropp as Nancy, Jess LeProtto as Pete, Nathan Lucrezio as Farmer McDonough, Lauralyn McClelland as Ruth O’Reilly, Shina Ann Morris as Norma Nelson, Angel Reda as The Countess Gabrielle Von Blerkom, and Richard Riaz Yoder as Harvey the Innkeeper.
Scenic Design by Scott Pask, Lighting Design by Jen Schriever, Sound Design by Haley Parcher. With the Kennedy Center Opera House Orchestra under the Musical Direction of Steven Malone and Jay Crowder.
Highly recommended. It’s a short run so snag your tix asap!
Through February 9th at the Kennedy Center, 2700 F Street, NW, Washington, DC 20566. For tickets call the box office at 202 416-8540 or visit www.Kennedy-Center.org.
In the &Juliet Musical Rom-Com Juliet and Her BFFs Flip the Script at the Kennedy Center
&Juliet The John F. Kennedy Center for the Performing Arts Jordan Wright December 23, 2024
The company of the North American Tour of & JULIET (Photo/Matthew Murphy)
Curious theatregoers are wondering, what happened to Romeo? Not to worry, readers, Romeo is in the house in full. But in this switcheroo, Anne Hathaway rewrites the classic play in which the ladies take charge. What if Juliet didn’t kill herself? So move over, Will, these ladies are on fire! In this female empowerment story, familiar pop hits from Max Martin, who wrote massive multi-platinum tracks for pop princesses like Taylor Swift, Pink, Katy Perry, Brittany Spears, Kelly Clarkson and Ariana Grande, collaborates on the music with fellow hitmakers tweaking the tunes to fit the plot. Speaking of the plot, sweet Juliet along with her kickass besties, Anne Hathaway as April and identity-confused May, “I’m Not a Girl, Not Yet a Woman”, get to flip the script on our pal Romeo, here self-portrayed as an insecure dolt who’s still madly in love with Juliet. Yes! He comes back to life too.
Corey Mach and Teal Wicks (Photo/Matthew Murphy)
You’ll need to suspend all notions of ye olde Shakespearean plots and dialogue because this iteration is a rock concert on steroids. To picture how it’s presented, imagine your English Renaissance characters sporting Jacobean hip-hop gear while breakdancing and pop-locking, krumping and kicking to a ferociously fierce beat provided by the Kennedy Center Opera House Orchestra who collaborate with the production’s own musicians.
While feisty Anne and Will trade barbs and witty quips – the adorable Will occasionally stealing back the plot from her – romance abounds. It’s a modern-day rom-com cum musical with the known-world characters finally having their say. Nurse, Angelique, is no shrinking violet either. In fact, she has her share of some of the snarkiest lines. It’s a huge, multi-diverse cast with killer voices, belting out 29 mega hits that keep the audience dancing in their seats. Because who can sit still for deliciously hot chart-toppers like “Oops, I Did It Again”, “Teenage Dream/Break Free”, “Roar”, “I Kissed a Girl”, “Baby One More Time” and “Whataya Want From Me” that François duets in a word-duel with May.
This multi-award-winning show is big fun! Catch it while you can!
Kathryn Allison (Photo/Matthew Murphy)
Directed by Luke Sheppard with Rachel Simone Webb as Juliet; Teal Wicks as Anne; Corey Mach as Shakespeare; Nick Drake as May; Kathryn Allison as Angélique; Michael Canu as Romeo; Paul-Jordan Jansen as Romeo; Mateus Leite Cardoso as François; Naima Alakham as Lady Capulet/Nell; Nella Cole as Eleanor/Benvolio; Camille Brooks as Judith; Lois Ellise as Susanna; Ishmael Gonzalez as Gregory; Kenneth Onesimus Goubran as Augustine; Shelby Griswold as Lucy; Christopher Robert Hanford as Henry; Jourdan Ibe as Lennox; Josh Jordan as Richard; Nichole Lamb as Margaret; Yoshi Maysonet as Dion; Usman Ali Mughal as Lord Capulet/Sly; Jaydon Nget as Kempe; Kyra Smith as Titania; and Francisco Thurston as Cuthbert.
Music and Lyrics by Max Martin and Friends; Book by David West Read; Music Supervisor, Orchestrations and Arrangements by Bill Sherman; Choreographed by Jennifer Weber; Scenic Design by Soutra Gilmore; Costume Design by Paloma Young; Lighting Design by Howard Hudson; Sound Design by Gareth Owen; Video & Projection Design by Andrzej Goulding; Hair/Wig & Makeup Design by J. Jared Janas; Dance Captain, Francisco Thurston.
Through January 5th in the Opera House at the Kennedy Center, 2700 F Street, NW, Washington, DC 20566. For tickets and information call the box office at 202.467.4600 or visit the website at www.Kennedy-Center.org