'The Moderate' makes the invisible work of content moderators sharply visible

When he gets the opportunity to be a hero, Frank Bonner wants to rise to the occasion.

Frank is the protagonist in “The Moderate,” a technology-centered tale. The play focuses on the people who monitor the darkest parts of the internet, and the toll it takes on their lives. The thought-provoking play at Central Square Theater, through March 1, is masterfully directed by multimedia designer Jared Mezzocchi, with scenic design by Sibyl Wickersheimer.

The action in this insightful narrative takes place during the pandemic, when Zoom ascended. It’s during this time that Frank, a convincing Nael Nacer, takes a job with a social media company. He’s paid $17 an hour to accept or reject videos based on seemingly outdated company guidelines. Frank, who lost his previous sales job, and his wife Edyth (Celeste Oliva), are going through a rough patch in their marriage. Frank lives apart from Edyth and their son, who is mentioned but doesn’t appear onstage.

As Frank reviews content, the audience becomes immersed in the work. Photos and videos, some innocuous, others gory, racist or overtly sexual, are projected on both sides of the theater's walls, and onstage via several screens. The content envelops the audience making Frank’s work feel inescapable.

The story of this tough job — which is, in fact, a real occupation — is illuminating. However, the work of the cast and creative team, including lighting supervisor Matthew Breton, lighting designer Kevin Fulton, sound designer Christian Frederickson and properties designer Julia Wonkka, really helps raise the stakes. The digital world melds with the real world.

Most social media users might not think much about what happens when they post on a platform. Who absorbs the joy or rage, cruelty or kinks outside of friends and followers in these digital spaces might seem inconsequential. But Urban’s writing–part public service announcement and part urgent warning– about the fictionalized moderators pushes us to consider every upload.

Onstage, there’s plenty of emotion in this nicely paced show, albeit with a few lulls. Frank misses his wife. Martin (Greg Maraio), Frank’s boss, is learning how to be a manager. Rayne, Frank’s colleague who confronts child porn at work, turns to the people in her pandemic pod of friends to forget what she sees. Rayne is a kind-hearted gamer (a very fun Jules Talbot) who also becomes a friend and confidant of Frank’s as he racks up extra shifts at work. The extra hours reviewing content push him to his limits. He yearns to intervene, but isn’t sure how. And even if he does, it won’t stop the onslaught of more vile content.

Frank spends a lot of time in his cozy office which is draped with gauzy curtains that act as screens. The ceiling of his office doubles as a platform where Gus (an affecting Sean Wendelken), a boy with whom Frank is familiar through his work, appears. As Frank digs into the content Gus shares about his life, Frank has to make a choice about how far he is willing to go to save Gus, or if he should just remain a cog in the machine, keep his head down and do his work in this harrowing, timely tale. Everyone should think twice before hitting share.

Central Square Theater’s “The Moderate” shows through March 1.