Broadway.com
Review: ÒJ.O.B. The Hip-HoperaÓ
September 28th, 2006
by Rob Kendt
HereÕs the show that Will PowerÕs The Seven wanted to be:
J.O.B. the Hip-Hopera is a fleet-footed rap-style musical on more or
less classical themes. ItÕs fast, funny, and free-form, packed with as many
blink-and-youÕll-miss-them jokes and cross-references as a good Simpsons episode. And
where most theatrical hip-hop efforts trade on the formÕs alleged cool factor,
the greater part of J.O.B.Õs appeal is in its nerdy, singleminded
inventiveness. Gangsta rap, meet geek chic.
Co-writers Eli Batalion and Jerome Sable are two white Canadians
clearly more smitten by hip-hopÕs wit and wordplay than its claims to ÒstreetÓ
authenticity. Indeed, in setting their double narrativeÑwhich follows Job Lowe,
a put-upon music executive, as well as the black-and-white rap team of M.C.
Cain and M.C. AbelÑat an L.A. record company, they get the chance to deflate a
load of hip-hop clichŽs. One character, the portly Ali Fashid, is in charge of
ÒGangstaficationÓ at Hoover Records, while the head of marketing, a good old
boy named Bill Dodd, lands a product endorsement from the NRA. Without
preaching, J.O.B. handily skewers the commercialization of antisocial attitudes
that has greased hip-hopÕs slide into the mainstream.
The impish Batalion, who comes off like a cross between Daniel
Stern and Mr. Bean, dominates the proceedings. He stars as the over-eager M.C.
Abel and appears in a dizzying variety of other roles, most memorably as a
Valley Girl receptionist who sings an irresistible anthem to the downcast Job:
ÒYou can do like whatever/If your heart is pure/And never say never/Unless
youÕre really sure.Ó As his more sober-minded sidekick Cain, Niles Rivers is
equally adept at the relentless shape-shifting required by Stefan Novinski and
Hassan ChristopherÕs kinetic direction, though Rivers proves better at belting
out JobÕs soulful cris de couer than at the showÕs rapid-fire rapping.
Co-director Christopher appears in a trio of breaking-and-locking
dancers, who also include Marissa Labog and Aimee Zannoni. Christopher also did
the sinuous, twisting choreography, which hits that ineffable fulcrum between
looking planned out to the millimeter and seeming freely improvised on the
spot. DJ Creativity spins the turntables with stunning dexterity, and Myesha
Taylor sweetens the pot with soaring backup vocals.
The result is a beguiling, occasionally overstuffed mix tape of a
show, and if it doesnÕt exactly plumb the depths of the issues it raisesÑrace,
justice, corporate backstabbing, the age-old battle of integrity and
compromiseÑit riffs on them with such giddy delight and acrobatic deftness that
it adds up to a lot more than the sum of its parts. I canÕt recall seeing a
musical that seemed both so ferocious in its execution and so essentially
lighthearted at the same time. And while that combination can get a bit
exhausting, itÕs not unlike the adrenaline high to be had from the best of
Kanye West or Eminem. All hail Sable and Batalion for bringing the noise to the
musical theater.
J.O.B. The Hip-Hopera
Book and lyrics by Jerome Sable and Eli Batalion
Music by Jerome Sable, Eli Batalion and Joe Barrucco
Directed by Stefan Novinski and Hassan Christopher
45th St. Theatre