VOICE-CHOICE
Coal Mine Theatre Presents the CANADIAN PREMIERE
“JOB”
Written by Max Wolf Friedlich. Directed by David Ferry.
Reviewed by Geoffrey Coulter, actor, director, adjudicator, arts educator.
April 26, 2025

A taught, timely and, at times, shocking play, masterfully told by a visionary director and two dynamic and captivating storytellers. This is a disturbing exposé of the follies and foibles of social media and the internet and whether it’s possible to be online too much and, more importantly, who the gatekeepers of what we see and don’t see are.

As an actor and director, I can testify that a play with only two actors (known as a “two-hander) can represent multiple challenges. Not that any production isn’t full of those. But there’s a lot riding on a narrative kept afloat by a two people’s relationship bourgeoning before our eyes. The masses must be appeased in the arena of human theatricality.

It starts with an exceptionally well-written and engaging script. Next, a director with a creative vision steps in, finding novel ways to compel us to care and ponder the relevance of the play’s themes. After a crew is assembled, exceptionally engaging and believable actors step up and bring the characters to life in ways that guide the audience’s investment in the material.

Such is the stuff of Max Wolf Friedlich’s 2023 play, “JOB”, now playing its Canadian debut at Coal Mine Theatre in Toronto. This is one of those “little” plays that delivers all the entertainment, all the emotion, all the social commentary of any larger, longer show. It produces awe-inspiring moments when technical and artistic elements fuse in perfect sync, creating this rare, not-to-be-missed gem.

Jane (the wonderful Charlotte Dennis), a “content moderator” at a California tech company, has been placed on leave after becoming the subject of an unfortunate workplace incident gone viral. Her job is the only thing that gives her life meaning and after much pleading, her employer agrees to take her back but only if she sees Lloyd (Canadian theatre veteran Diego Matamoros), a crisis therapist. She’ll do whatever it takes, including holding Lloyd hostage, to get that return-to-work letter. What follows in Lloyd’s suitably claustrophobic office are violent acts, philosophical rhetoric and a multi-generational high-stakes cat and mouse game where secrets are revealed, attitudes challenged, and an examination of our responsibilities, online and to each other, are brought into question.

This is thriller, to be sure. Without revealing too much, it starts with a shock and ends with a bigger shock. It doesn’t let up for its entire 75-minute run time. What’s remarkable is that the more we see the divisive attitudes born of Jane and Lloyd’s generation gap, the more we see how their dark attitudes towards the internet and social media intersect.

Director David Ferry clearly positions his actors like pieces of a chessboard. Staged in the round, Lloyd’s office set is aptly suited to the physical confines of Coal Mine’s small black box space. Ferry finely orchestrates the tension right from the opening moments and artfully maintains a palpable feeling of restlessness in his clever blocking. When things heat up, Lloyd and Jane argue from afar, but when secrets are revealed, their physical chasm is narrowed. There’s a definitive tug-of-war happening here and it’s every bit as physical as it is spoken.

Nick Blais’ set design and Mathew Hall’s props nicely complement each other. Blais places the audience on three sides. I felt like a spectator at a boxing match, watching the characters duke it out in the ring. It’s sparce but effective, a dated office complete with throwback 60’s retro armchairs, vintage desk, circular area rug and Windows XP computer circa 2010. Hall’s props are few but nicely complete the setting - note book, magazines, some books, a box tissue, and a file folder. Suspended above the stage are rows of cubbies stuffed with books, figurines and other knick-knacks, completing the image of a vast bookcase and providing covert vantage points for special lighting.

Hats off to lighting designer Wesley Babcock for their delightfully innovative designs, despite the cramped quarters and low ceiling height. Subtle intensity changes in warm the warm hues for the main scenes are thoughtfully convey heightened emotion. Much of Jane’s blocking has her standing in a beautiful blue highlight on her shoulders and head. Spotlights provide depth while multi-coloured LEDs effortlessly and suddenly transport us into flashbacks and dream sequences. Heaps of praise also for the abrupt and chilling blackouts - It’s gets really black, really fast.

Ellie Koffman thoroughly matches her costumes to the characters. Jane’s blouse, sweater and slacks are plain and casual while Lloyd seems the epitome of the hippie-like rumpled shrink in sweater jacket, T-shirt and well-worn blue jeans. Michael Wanless’ sound design provides subtle city soundscapes, frenzied effects and frightening incorporeal voices with equal cogency.

But it’s the actors that are electrifying and embody their characters believably and authentically.

Charlotte Dennis is outstanding. Her multi-layered portrayal of the highly stressed and disturbed Jane is revelatory. She brings an intelligence and ferocity to her character. She teeters between the real world and realms of remembrance and fantasy. One minute she’s expounding her cynical world view and rage at baby boomers, the next she’s yearning for an ER to lie down in peace but always circling back to that referral from Lloyd so she can get her job back. Her pot-on line delivery and emotional fragility is exceptional and powerfully impressive. She’s one to watch in the Canadian theatre scene.

Canadian theatre icon Diego Matamoros delivers a masterclass performance as Lloyd. He’s a perfect foil for Jane, with a pastoral ease and slow line delivery a by-product of his hippie years at Berkeley. His Lloyd is professional and composed, even when trapped and threatened by Jane. He knows Jane is complex, even dangerous, and realizes she may think the same of him. This is an actor who actively listens to his scene partner, effortlessly channeling her emotions to feed his own actions and intent. He’s a joy to watch!

“JOB” is a show packed with contemporary themes of society, social media, relationships, morality and self-worth. What starts out as a psychological thriller, spirals into a horror show of the dark side of cyberspace. If you’re looking for a rollercoaster ride that doesn’t let up, “JOB” is a play you must see!

Runs approximately 75 minutes with no intermission.
The production runs until May 18 at Coal Mine Theatre,
2076 Danforth Ave., Toronto, ON M4C 1J6
For tickets email tickets@coalminetheatre.com

“JOB”
Written by Max Wolf Friedlich
Directed by David Ferry
Set design by Nick Blais
Costume design by Ellie Koffman
Lighting designed by Wesley Babcock
Sound design by Michael Wanless
Props by Matthew Hall
Performers: Charlotte Dennis, Diego Matamoros