Interview: Sydney Lemmon on JOB's Broadway Journey – 'Lightning Kept Striking'

Max Wolf Friedlich's play JOB had two successful Off-Broadway runs before making its way to Broadway. BroadwayWorld spoke with Sydney Lemmon, who starred as the character Jane throughout the show's evolution.

In this interview, Lemmon discusses the personal growth involved in playing Jane, her dynamic with co-star Peter Friedman, and the unexpected moments of humor that emerged within such a dark story. She also opens up about the impact this show has had on her, calling it one of the most important experiences of her life. Read the full interview here! 

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JOB had two incredibly successful Off-Broadway runs, and then came to Broadway. What was it like to take that journey with the show?

To be able to start with something, just the script, and to be at the ground floor creating the world of it so closely with Peter [Friedman], and with Hannah Getts, our dramaturg; and Michael Herwitz, the director; Max [Wolf Friedlich], the playwright, to be able to create this piece out of nothing, guided by Max’s amazing words, and get to do it once, was the journey of a lifetime.

And every time we put it to rest, we had no idea that we’d have the opportunity to get to do it again. So, every time that beautiful call came that we were going to be able to move it to a bigger space, it first of all came as a complete shock. Abd when ultimately we landed on Broadway, I think I can honestly say that none of us thought that was possible. So, it was the journey of a lifetime, and one that I feel like I will reflect on my whole life.

How did your approach to playing the character of Jane evolve through the years and through the different theaters and productions?

It’s a beautiful question. There were some constants. Of course, lucky enough, Peter was a constant. And the team, Michael was a constant,. But when you take on parts like these, like Jane, it pushes you and requires personal evolution. So every time we came back, the story stayed the same, but I had changed as a human being, so I just got to bring, hopefully, a bigger version of myself, and more empathy for her, for what she was living through.

There is also the benefit of just beginning to understand the story like a musical score. Learning where the audience leans in consistently, where you feel them stop breathing consistently, and to get to ride those rhythms in a way that you couldn’t begin that deep on the first round. In the second round you started, and in the third round it’s like this really happy place of not thinking, just doing, and really giving it your all.

What were the most challenging and most rewarding aspects of stepping into that character?

I would say that the most challenging part is simply what the character is living through, her world is a dark world, and yet the play can be so funny at times. Definitely just maintaining her ‘already’.  The ‘already’ of what she has on this day that she’s bringing to the stage. So, maintaining that certainly was a challenge.

The rewarding parts, obviously getting to act across from Peter is the greatest reward of all. I just can’t say how much I love him and how he’s become like family to me. So, getting to have the precious time with him has been deeply influential.

Your dynamic with Peter's character, Loyd, is at the heart of the play. How did the chemistry between you two, and the characters, develop, and continue to develop throughout all the show’s runs?

I think chemistry isn’t something that develops, you either have it or you don’t, and we were lucky that we just get each other. And even though we are totally different actors, there was a common ground that we both arrived at on the stage, and it just felt easy.

Obviously, our characters are at odds, and it was to our benefit that it was so the opposite for us offstage. There was a safety to go even deeper and farther into the scariness of the story because we knew that when we went offstage that we would be laughing with each other about hearing a cell phone drop 20 minutes in, or somebody who was talking. You know, the funny stuff that you get to chuckle about. It’s wonderful.

What do you hope that audiences took away from JOB? What did you find seemed to resonate most with audiences?

When I read the play I was like, ‘Well, who on earth is going to relate to this? This is so extreme, will people find a way to connect with it?’ and I really saw it as this heavy drama. And I had the biggest surprise the first preview when we presented it, and the audience was laughing. I don’t think any of us expected that, I really don’t [laughs]. The reception is just not what we were anticipating, and how wonderful to get a surprise like that! Because when you add in that essential element of the people who the story is being told to, they have such an influence on telling you what it is that you’re doing. So, that was pretty spectacular.  

Do you have any final thoughts you’d like to share?

I would just shout out all the producers for their intrepid maneuvering, really. And the designers. Every single person who was bringing this story to life, no one’s impact was small, everyone’s impact made it happen. It felt like lightning kept striking, and when we announced The Connelly, it was like, ‘Well, okay, people came the first time, but I don’t think they’re going to come this time.’ And then they did. And then when we announced Broadway we were like, ‘Uh, I don’t know if they’re going to come this time.’ And then they did. Lightning kept striking. So, to get to be a small piece of this brilliant, tight family that put this story out there, I am forever changed by it in ways I’m still trying to uncover. This will always be one of the most important experiences of my life.