Old school Testament
Who knew the bible could be this fun?

As Michael Jackson and Diana Ross reinvented a timeless story into a soul-fuelled funkventure in The Wiz, so then Foqué dans la Tête Productions updates the Old Testament story of Job into an Old School hip hop Biblical puzzle set in a modern day New York record company. FDLT brought Everything You Wanted to Know About Yourself But Were Afraid to Ask Freud into town for last year’s Fringe – one of the best shows at that – and in this Azimuth Theatre mainstage production, they bring the same kind of goofy yet accurate reinterpretation of scripture.

As far as Bible stories go, Job’s is kind of a tough one to wrap your head around in these days of softball theology. That’s what happens when you appropriate a religious text from a faith that seems to value debate and intellect as much as metaphor and parable.

But before I offend all of you Judeo-Christian-Islamic types, a quick overview of the plot as I understand it. Job is a regular guy, maybe a little more devout than most. God rewards his good behaviour with everything a man can wish for: a beautiful and faithful wife, an obedient and loving family, a satisfying and profitable living. Satan wages that Job’s loyalty has more to do with gratitude for the gifts He has given him than any kind of real faith, which makes God REALLY MAD. He’s a little hurt by all this, so He takes everything away from Job, killing his whole family, testing his faith. Job suffers and suffers, wondering what he’s done wrong and gets this close to renouncing God. Thankfully he doesn’t, so Job passes the test, and gets everything back: a better, prettier wife, an easier workload and happily ever after, one supposes.

Now, this new version tells pretty much the same story, though the context is somewhat different. Job Lowe (say it out loud) and Mrs. Lowe are hitting stride in their yuppie lives. Job is one of Hoover Records’ star executives, and his wife is up for tenure at the university. Same deal, an ideal life. But then! Louis Saphire, VP of Finance, bets that Job’s performance and loyalty is totally about the bling-bling that Hoover’s been rewarding him with. Hoover, being somewhat vain, decides to test this theory. It works itself out. You know.

As MC’s Cain and Abel, Jerome Saibil, who also directs the show, and Jon Paterson, narrate as well as perform all the characters in the play. Some 10 songs make up the play, making for a brisk, big-impact hour. The stage is empty, save for a lot of bottled water and two towels, which is a promising sign: these guys are under some hot lights, wearing polyester track suits and are rapping or singing for the entire show. Amazingly, these end up being props rather than health considerations.

Swapping off roles, Cain and Abel are as quick with their feet as they are with their rhymes, whether they’re rapping over Eine Kleine Nachtmusik or misquoting Eminem. The jokes come fast and often, so listen up carefully. You might miss Dr. Dreidel. Aw, who am I kidding? NO YOU WON’T. This all’s an excellent fun time: Saibil and Paterson project a Beastie Boys sense of humour and a brilliant sense of creating a character in a mere gesture. Rock it!

— Mari Sasano