i. fundamental
The primary time I encountered what I name a “theater bro,” it was in my first semester of faculty.
It was September 2017. I used to be attending Wesleyan College, a small liberal arts college in Middletown, Connecticut — it’s a university that carries status for individuals who really know that it exists. As I nervously went by my first week of courses, in each cafeteria dialog, it felt like I used to be being interviewed to see if I’d be a great buddy or collaborator. It was the 12 months after Hamilton swept the Tonys, and the musical’s creator, Lin-Manuel Miranda, had simply turn into the college’s most well-known alumnus. Each scholar at Wesleyan, even when we didn’t admit it, believed we may additionally make it huge by our artwork.
LEFT: Tradition critic Nathan Pugh (photograph courtesy of the creator); RIGHT: Playwright Max Wolf Friedlich (photograph courtesy of Signature Theatre).
Strolling round campus, I had a critical case of imposter syndrome. By some means, I’d schemed my method right into a world the place each man was experimental, edgy, and funky. I may solely cross as one in all them. Again in my Virginian personal college, I used to be surrounded by extra conventional “bros”: guys who advised crass jokes, acquired lacrosse scholarships, and sported soiled Nike socks and ratty mullets. Up at Wesleyan, I used to be surrounded by a brand new artsy sort of bro: guys who gave you unprompted enjoyable details concerning the movie Whiplash, complained about Middletown being too rural in comparison with Manhattan, and donned so many beanies to the purpose of parody.
One night I used to be hanging out within the widespread room of Butterfields: a dank, winding dorm colloquially known as the “Butts.” A lanky man struck up a dialog with me, and I discussed that I used to be in a category known as “Award-Winning Playwrights.” When the man requested me what my favourite play was, I froze. Earlier than this class, I’d solely learn Shakespeare and Tennessee Williams; I didn’t have an idiosyncratic reply to supply. The primary play assigned in my class was Angels in America, so I blurted that out.
“Basic choice, but a classic,” he responded. He then gave an extended anecdote on Annie Baker: how he’d carried out her observational however profound performs, and the way I ought to actually learn them. I nodded alongside, making an attempt to cover the sting of humiliation. Again in Virginia, I used to be eccentric in comparison with the bros. However right here, I used to be “basic” in comparison with them. I wanted to check extra performs in order that I may show myself as belonging with the theater in-crowd.
I quickly grew to become pals with this lanky man. However for years, I resented him for being so dismissive in our first dialog, for making me really feel so small. It wasn’t till just lately that I noticed he was making an attempt to show himself to me. On the time, he was insecure, too.
ii. good individual
Jane — the protagonist of the Max Von Friedlich play Job, now working at Arlington’s Signature Theatre — additionally resents the folks from her school. She’s in some of the intense hours of her life, holding her work-assigned therapist hostage. But she’s nonetheless drawn to mocking her alma mater, and the virtue-signalling Instagram posts that flooded that sort of world. Her terrified therapist asks if she’d ever publicly share these ideas, however Jane rejects the premise.
“I don’t own it though,” she says about herself. “I’d never put that out there. I’d get ripped apart… On like Twitter or Instagram. Like people I went to college with would explode at me.”
Eric Hissom (Loyd) and Jordan Slattery (Jane) in ‘Job’ at Signature Theatre. Photograph by Christopher Mueller.
Explosions — psychological, bodily, and societal — preserve occurring for Jane, with no aid in sight. Over the course of an excessive 90 minutes, Jane holds her therapist captive, alternately arguing, pleading, threatening, and opening as much as him. The dialogue feels startlingly acquainted to the phrases I’ve spoken to my very own pals, in school and past. Seeing Job, I felt uncomfortably much like Jane. This can be as a result of Friedlich and I’ve related experiences. He graduated from Wesleyan within the spring of 2017; we missed sharing the campus by one semester.
Job opens with Jane (Jordan Slattery) wielding a gun towards a therapist, Loyd (Eric Hissom). Loyd quickly convinces Jane to place down her gun, and she or he apologizes profusely, inserting her weapon gingerly into her Dealer Joe’s tote bag. Nonetheless, she gained’t let Loyd go away the room — she’s come to his workplace to get approval to return to work, and she or he gained’t go away with out it.
The remainder of the play capabilities as a tense standoff. Working professionally and defensively, Loyd begins asking questions on Jane’s upbringing and profession. With a lot reservation, Jane shares that she was working as a web-based content material moderator at a know-how firm till she had a psychological breakdown. An incident of her screaming went viral, and she or he was positioned on paid go away, regardless of determined makes an attempt to return to work.
All through their dialog, Jane always pushes again on Loyd’s therapy-speak, and begins grilling him on his personal life. Loyd is a Berkeley graduate working in downtown San Francisco, a folksy sort who’s cautious about know-how and avid about his teenage kids. The conflict between the 2 characters turns into generational. Jane is rebuking the liberal world she’s inheriting from Loyd. Loyd is defending that world whereas wielding extra institutional energy than Jane.
Watching Job at Signature Theatre, I noticed the same generational conflict occurring within the viewers. Job was initially staged in two off-Broadway venues, earlier than a 14-week Broadway run in 2024. The play gained higher notoriety after a TikTok video praised the present’s writing and path, which then spurred a gaggle of stylish, younger New Yorkers to look at the present.
These New York audiences in all probability aligned themselves politically and generationally with Jane. However a lot of the Virginia viewers, composed of middle-aged regional theater subscribers, in all probability aligned themselves at first of the play with Loyd. There have been a couple of occasions on the efficiency I attended the place I used to be the one one laughing at Jane’s snarky jokes — particularly when she calls herself a “Xanax girlie” and admits that every one of her school pals “were literally socialists.” Possibly I solely laughed at these jokes as a result of I’m Gen Z. Possibly I’m simply fluent in Jane’s brainrot tradition, which isn’t as widespread in DC.
At the same time as Jane and Loyd’s dialog twists in surprising instructions, Jane retains citing her time in school. It’s like a rash in her reminiscence, one which she will be able to’t cease scratching. She calls her school pals “cringey rich assholes.” She remembers a poisonous school relationship, which had plentiful intercourse however restricted intimacy. Jane even rails in opposition to her college’s aesthetic:
JANE: …Actually all I can keep in mind concerning the first semester of faculty was making an attempt to determine tips on how to costume like I cared about social justice and the cafeteria employees’ union and gender-netural bogs. To offer a shit I needed to odor like shit – I needed to put on ratty t-shirts to be publicly accepted as a great individual.
LOYD: Did you take pleasure in school?
JANE: Liked it.
In these traces, I hear echoes of my experiences with theater bros. I utilized for early determination to Wesleyan due to its collaborative setting (versus the cutthroat Ivy League). However once I arrived on campus, it was jarring to face new pressures. Each scholar appeared to compete for standing as essentially the most socially acutely aware, essentially the most radical, essentially the most controversial. Within the face of this, many Wesleyan college students discovered a subversive pleasure in being “normie.” In an educational world the place everybody strove to be avant-garde, many resisted by behaving as mainstream as doable. I’ll admit, I felt oddly disruptive if I wore a polo shirt to a category.
The need for mainstream attraction was shared by the college administration. Within the wake of the 2016 election, Wesleyan College President Michael Roth promoted what he known as “intellectual diversity” and the growth of scholar athletics. “Athletes on campus have different perspectives from the avant-garde surrealist pop guitar player from Park Slope,” Roth stated in a Slate article printed throughout my first semester. “You can’t be a caricature of yourself,” he continued.
Even when my school has a caricatured repute as activist and abrasive, it’s an power that I really like (like Job’s Jane). At its greatest, the college felt like a refuge, the place gays and artists may collect away from our stifling hometowns. But in addition like Jane, I knew this refuge was an phantasm. Just a few college students had households that gave them immense energy on campus and past. Their final names appeared in movie credit and Broadway playbills and on the perimeters of buildings. In Job, Jane additionally arrives at this bitter realization: “But one day it just sort of hit me – I was nothing like them. / I didn’t have an uncle who could get me a job on a TV show.”
I felt aid listening to this line, listening to unstated privileges lastly named. However I additionally knew these phrases had been coming from a personality that was jaded and violent. Was Friedlich asking the viewers to know somebody like me, even when I used to be rendered delusional? And did Friedlich write these phrases as a self-critique?
iii. boygenius
Like many Wesleyan college students, Friedlich grew up in New York Metropolis and was launched to the humanities at a younger age. He grew up going to a live-action roleplaying summer season camp, and in highschool, he wrote a play known as SleepOver. After learning American research at Wesleyan, he continued producing his personal work, briefly wrote for tv, and joined playwriting applications. Friedlich was impressed to put in writing Job partially by two experiences: chatting with an overworked content material moderator and serving to run accounts for the fictional influencer Lil Miquela.
On one hand, Friedlich himself is the epitome of the “theater bro” that Jane and I resent: a Manhattan socialite who had trade benefits earlier than stepping on a university campus. Simply have a look at how Wesleyan College Journal tells Friedlich’s story. A function on him may be very particular concerning the methods he’s had a “D.I.Y. approach” to theater, like elevating $10,000 by Kickstarter. However when discussing his household’s profession affect, the article all of a sudden turns imprecise: “His parents… have supported his artistic aspirations and helped him make connections along the way.” I want I had mother and father who may make connections like that.
However, Freidlich’s upbringing isn’t that completely different from my very own. I’m just about the DC equal of a Manhattan socialite: I went to an costly personal college, by no means needed to fear about monetary independence till the age of 18, and did learn Shakespeare earlier than school. I’ve benefited from the entire programs I’m calling out.
Possibly I’m indignant that, even with my huge privileges, there are folks like Friedlich with even higher privileges. Possibly I don’t hate Max Wolf Friedlich as a lot as I wish to be him. Possibly my resentment for him comes from a sublimated envy. A part of this envy comes from realizing Friedlich’s profession path is inconceivable for me to observe. When Friedlich graduated school in 2017, he may discover the theater trade and develop Job in small venues just like the Connelly Theater. Once I graduated school in 2021, I discovered a theater trade limping from the pandemic, with even fewer entry factors. Nobody’s producing performs on the Connelly these days.
In one other world, I’d like to learn the script of Job blindly, not realizing the author’s age or background. However theater doesn’t exist in a vacuum, and Friedlich’s standing as a boygenius wunderkind permits Job to be produced. There are writers much like Friedlich who additionally discover the catastrophe of the Web. Watching Job, I’m reminded of the chronically on-line characters satirized by Patricia Lockwood, Tony Tulathimutte, and Honor Levy. What distinguishes Friedlich from his colleagues, and what catapults him into fame, is his function as a dramatist. He’s extremely attuned to the audiences listening to his phrases and writes for them. In a profile for Vulture, Friedlich shared his delight that Job was attracting area of interest subcultures: “We’re a hit among teenagers; we’re a hit among NYU people and Dimes Square motherfuckers.”
As Friedlich navigates an more and more industrial profession, he’s drawn farther from these subcultures. I do know concerning the Dimes Sq. scene out of morbid curiosity, however most individuals watching Job in Virginia don’t. In that very same Vulture profile, Friedlich acknowledged his capitalist impulses, saying “half-jokingly” that he’s making “theater for boys.” He acknowledged: “If the industry is going to survive, we need 30-year-old bros to get onboard thinking this is a cool thing.”
I see Friedlich’s idea of “theater for boys” as much like Michael Roth’s idea of “intellectual diversity.” Each are attempting to welcome a male demographic into an area the place they’ve beforehand felt sidelined. I’m sympathetic to this mission, however once I hear “theater for boys,” my first intuition is to roll my eyes. I imply, come on. Thirty-year-old bros already run Silicon Valley and Hollywood and the federal government — they don’t want extra space, particularly in one of many few industries the place marginalized folks work constantly. We don’t want affirmative motion for white guys. In fact, Friedlich, catering to a bro crowd, could make it to Broadway early in his profession. In the meantime Paula Vogel, writing principally about queer ladies, needed to wait a long time for a similar profession honor. This double normal isn’t Friedlich’s fault, however it’s a bonus for him.
Whether or not we prefer it or not, the U.S. authorities is creating a brand new period of “theater for boys,” significantly in DC. The Nationwide Endowment for the Arts is eliminating any funding for works that assist variety, fairness, and inclusion. It’s additionally launched “gender ideology” restrictions on funding. Lin-Manuel Miranda just lately pulled Hamilton out of the largest performing arts group in DC, and its new management responded by saying, “Hamilton can’t perform for Republicans” and “Stop the intolerance.”
The 2 worlds I anxiously navigated as an adolescent (conservative Virginia bros and artsy Wesleyan bros) are colliding at an alarming tempo. I really feel like I’m going insane. If the present political administration had its method, there would solely be theater for boys, and nothing else. Max Wolf Friedlich ought to be cautious what he needs for.
iv. kill
The primary time I felt myself turning into a theater bro, I used to be halfway by school.
I’d been compensating for my freshman-year insecurity by taking as many theater courses as doable. In a single class, we learn Andrea Abi-Karam’s poetry assortment Extratransmission. The self-described “punk poet-performer” was visiting our class, and one in all our assignments was to ask Abi-Karam a query instantly. I used to be fascinated by their poem “KILL BRO/KILL COP,” which explores male violence by the police, army, and literature. The poem’s speaker imagines enacting violence in return, imploring: “kill all the bro poets. actually you know what, kill all the bros. kill all the power dynamics in the room.”
I questioned why Abi-Karam selected the phrase “bro” as their enemy. Why not “man,” or “dude,” and even “bruh”? However once I requested Abi-Karam this very query, they responded incredulously: “Because I just really hate bros.” Despite the fact that I requested the query in good religion, the poet stared at me with such disdain. I may inform they discovered my query condescending. In Abi-Karam’s eyes, I used to be simply one other bro.
In too some ways, I’ve turn into the Wesleyan theater bro that I’ve all the time resented. I principally cowl performs like Fairview and Slave Play — they’re confrontational and considerably inaccessible to folks simply discovering theater. When my Wesleyan buddy was placing collectively an interview with Annie Baker, she reached out to me since I’m now the man who recommends that playwright to folks. My standing as a Wesleyan grad additionally confers a status I couldn’t have imagined in my freshman 12 months there. “You guys are everywhere in theater,” an editor of an arts publication just lately advised me. This mystique is likely to be the explanation I’ve stayed in DC, not shifting to Brooklyn like most of my school pals. In comparison with the khaki-wearing crowd of the nation’s capital, I’m lastly experimental, edgy, and funky.
So many individuals uncover who they’re by critiquing archetypes. Abi-Karam critiques bros. Job’s Jane critiques Loyd’s total era. Dimes Sq. celebrities launched their careers by critiquing liberals, and journalists gained notoriety by critiquing Dimes Sq.. Wesleyan grads make enjoyable of Wesleyan. Railing in opposition to somebody may be creatively fulfilling, so we create enemies in our heads to playfully and cruelly mock.
Max Wolf Friedlich has turn into that enemy for me. Anybody who’s keen to say he’s making “theater for boys” is a straightforward goal for derision. True, the nuances of Friedlich’s ironic humor in all probability don’t translate effectively in a written format. However studying that Vulture profile, I noticed somebody antithetical to the sort of artist I’m making an attempt to be.
Friedlich comes throughout so confidently in that profile, however Job is stuffed with vexed insecurity. At Signature Theatre, I felt fully unnerved by Jane and the way deeply she was self-conscious and significant of her place on this planet. It appeared like Friedlich was reaching by the stage to slap himself within the face, to name himself a “cringey rich asshole.”
Maybe Max Wolf Friedlich’s actual enemy is himself. He is aware of the caricature he typically embodies, and retains scratching at that determine in his recollections, realizing it’ll make him depressing. There’s a sort of perverse pleasure in eviscerating your self on the web page. I do know it effectively; it’s why I’m scripting this essay. Possibly Friedlich already is aware of how different folks resent him, as a result of he’s felt the identical resentment for himself. Possibly he actually is rather like me.
v. obligation
If Friedlich writes “theater for boys,” why did he make the protagonist of Job a lady? I believe it’s for instance how Web tradition particularly targets ladies. Within the fall of 2019, near when Job is ready, author Jia Tolentino printed the essay “Always Be Optimizing.” She argued there’s a up to date strain for everybody to “optimize” themselves, to always carry out (on-line and IRL) for max effectivity. “It’s very easy, under conditions of artificial but continually escalating obligation, to find yourself organizing your life around practices you find ridiculous and possibly indefensible,” Tolentino wrote. “Women have known this intimately for a long time.”
As Job progresses, audiences uncover Jane’s escalating obligations. As a content material moderator for a tech firm, she watches the worst of humanity and purges it from the Web, so nobody however her should witness it on-line. Not like Tolentino, Jane understands her tortured work as a noble quest. “I feel it all – and it’s a privilege to suffer as much as I do,” she states. She later says that she’s battling a pure evil, configuring herself as a sort of basic avenger heroine. Like Eve, she’s cursed with data. Like Cassandra, she’s doomed to talk the reality to a world that doesn’t imagine her. Jane is an agent of self-justified chaos.
Eric Hissom (Loyd) and Jordan Slattery (Jane) in ‘Job’ at Signature Theatre. Photograph by Christopher Mueller.
Greater than something within the Signature manufacturing of Job, it’s Jordan Slattery’s efficiency as Jane that’s stayed with me. She opens the present in a dazed terror, overtly wielding her gun but additionally cradling her tote bag like a baby. Slattery interprets the character as a lady overwhelmed with obligation however fearless in her conviction. Slattery’s spoken traces are sarcastic and terse, however her eyes betray a vulnerability that dialogue can’t specific.
Slattery is doing what nice actors do: honoring a playwright’s world however in some way shifting past something that playwright may think about. I used to be dissatisfied by the ending of Job: the present felt like a tightly constructed rollercoaster, the place twists thrilled me but additionally felt inevitable. But as Friedlich’s story stayed on a set monitor, Slattery’s disturbing efficiency made me really feel like I used to be flying off the rails.
My hope is that every one viewers members of Job can observe the lead of Slattery, utilizing Friedlich’s play as the inspiration to create our personal worlds. It’s an strategy we will apply to each a part of the theater. I don’t essentially endorse Jane’s campaign in Job. However I do perceive her command to “feel everything,” as a result of my privilege and my struggling, like hers, really feel impossibly intertwined. Despite the fact that I don’t agree with hardly something Friedlich stated in that Vulture profile, I discover his unfiltered honesty to be weirdly aspirational. I wish to be simply as candid in my very own work. And that first-semester dialog at Wesleyan? It’s solid me into the author I’m as we speak. I’ve optimized myself into the very artist that intimidated me.
If I actually have turn into the elite Wesleyan theater bro that I’ve all the time hated, I hope I can weaponize my privilege for a great trigger that’s nonetheless confrontational. Once I’m feeling most beneficiant, that’s what I see Friedlich doing in Job. Even in Friedlich’s “theater for boys,” he’s creating an area for theater bros to be undone. Friedlich is likely to be ceding the stage for somebody like Jane or Jordan Slattery, somebody higher than the theater bro. Somebody higher than me.
Job performs by March 16, 2025, within the ARK Theatre at Signature Theatre, 4200 Campbell Avenue, Arlington, VA. For tickets ($40–$90), name (703) 820-9771 or buy on-line. Details about ticket reductions is out there right here.
Working Time: Roughly 90 minutes with no intermission.
This system for Job is on-line right here.
Closed captions can be found by way of the GalaPro app.
COVID Security: Masks are non-compulsory within the foyer and different public areas of the constructing. Signature’s COVID Security Measures may be discovered right here.
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