Tech-savvy satire of the absurdities of modern recruitment, warmed by a sympathetic central performance
Inspired by writer Andy Owen Cook’s own experiences of redundancy, this production from Forest Sounds takes a darkly satirical look at modern job hunting and its toll on our souls.
Marion (Inés Collado) has come for an interview at Zantion Recruitment, an organisation that brightly promises to help candidates maximise their potential and become “the CEO of their own lives”. But as she is forced to jump through an increasingly convoluted series of hoops to identify the role that she is best suited for, the interview starts to take a very dark turn. Is the audience there to reward this hopeful candidate – or push her even further into despair?
The central idea is smart and, in Alfie Heffer’s production, cleverly executed and designed. The video and digital team (Peter Martin, Michael Cook and Aaron Mears), working with graphic designer Jingyi Yu, lighting designer John Rainsfoth and composer Cameron Naylor, capture the slick, glossy feel of modern capitalism. The use of cutesy memes to seem simultaneously hip and approachable, the relentlessly upbeat tone, the constant assurance that “everyone matters” from a system that doesn’t even bother to learn to pronounce Marion’s name correctly – all feel grimly familiar; so, too, does the over-reliance on tech, and the inability to cope when it breaks down. The system is always assumed to be right, with no room for individual human nuance.
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There are also strong shades of the Stanford prison experiment – that infamous 1970s undertaking where university students were divided into guards and prisoners, and fell all too easily into their respective roles – with us, the audience, as guards. As Zantion “representatives”, our roles seem innocuous enough, greeting and cheering on the candidate. But as we are pressed to suggest ever-more difficult (and potentially humiliating) tasks for the beleaguered Marion to perform, a streak of sadism is not only uncovered but encouraged, making us queasily complicit in the scheme.
Heffer deftly balances the piece’s humour and darkness, bringing out the inherent absurdity of the recruitment process that it is skewering. But a tighter hand would have made the show far sharper. The exercises quickly become repetitive and the creepiness of the final act – when Marion, devastated by the job selected for her, has to role-play being someone else to gain access to a second chance – dilutes its impact by overstretching the material.
As Marion, Collado brings warmth and relatability to the role of the candidate, and although we only get glimpses of her backstory, she is likeable and believable. Initially nervous and optimistic, she captures Marion’s bewilderment and her ultimate defiance as things start to spiral unexpectedly, making her an applicant it is impossible not to root for.
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