****Written by Max Wolf  Friedlich and directed by David Esbjornson—who makes a strong debut here—JOB unfolds over a tight 85 minutes filled with tension, unease, and unexpected turns. Esbjornson, known for his national and international work, demonstrates a confident command of pacing and atmosphere that keeps the audience locked in from start to finish.

The play centers on Jane, portrayed with intensity and complexity by Rae Grey. After a viral workplace meltdown—a 30-second scream captured on countless phones—Jane is required by HR to undergo psychological evaluation before returning to her job. That job, as we learn, is far from ordinary: she monitors and filters the darkest corners of the internet, preventing horrific material from reaching the public. It’s a role most cannot endure for long, yet Jane lasted over two years, suggesting both resilience and deep psychological cost.

From the outset, the stakes are startling. Jane enters the office of her therapist, Lloyd (played with measured restraint by Christopher Donahue), and immediately takes him hostage at gunpoint. What follows is a claustrophobic, high-stakes confrontation in which control constantly shifts. Jane is volatile, arrogant, and deeply troubled; Lloyd, initially composed, gradually reveals his own complexities as he attempts to de-escalate the situation—even while physically trapped.

The script weaves in moments of hallucination and psychological fracture, blurring the line between reality and perception. These elements are handled with precision, leading to a series of sharp turns and an ending that lands with unsettling force.

Design elements elevate production significantly. Scenic designer Jack Magaw creates an impressively detailed therapist’s office within the limited space—down to the precise placement of electrical outlets—enhancing the realism and tension. Lighting designer James Ingalls delivers crisp, effective transitions that heighten the pacing and emotional shifts.

Costume design by Jessica Pabst is more puzzling. While Jane’s contemporary look feels grounded, Lloyd’s wardrobe—reminiscent of Mister Rogers—doesn’t clearly align with his background as a Berkeley-educated professional working within the tech world, creating a slight visual disconnect.

Still, these are minor quibbles in an otherwise riveting production. JOB has already proven its appeal with sold-out runs Off-Broadway and on Broadway, and this production feels poised to do the same.

This is the kind of intimate, high-impact theatre experience that lingers long after the lights come up. In a space where there truly isn’t a bad seat, the only real mistake would be missing it.

“JOB” will continue thru – Jun 14th with performances as follows: