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Plot Twists, Slick and Surreal: Job and Six Characters
A tech-thriller unknots itself on Broadway, and a metatheatrical revolution keeps probing.
She rails at Loyd with her hackles up, which is entertaining, but as the therapist pushes her to open up, the backstory Friedlich provides for her only amounts to a rough sketch: divorced parents, class envy in college, an entanglement with an ex that hinges on an abortion in a way that comes off as cheaply button-pushing. Philip Howze, a gifted satirical trickster making his Off Broadway debut, sets the scene with a Black director (Julian Robertson) prowling around a bare stage, climbing up and down ladders, trying desperately to reach high enough to pull down the curtain. Soon enough, Logan’s character is running the show with the help of several other intruders, all of whom are Black and all of whom might plausibly be wandering around Lincoln Center themselves: a janitor (Seret Scott), a man dressed as a policeman (Will Cobbs), a young student on tour (CG), and a woman who seems as if she might’ve slipped out of an actual play, and announces herself to be a slave (Seven F.B.
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