Introduction
A simple search on Google reveals a troubling trend: men are experiencing heightened feelings of isolation, depression, and suicidal thoughts more than ever before. Among those affected is Roger, portrayed by John Krasinski, a man in his forties who embodies a sense of mediocrity and unremarkable normalcy.
Once enjoying a comfortable position at AT&T, Roger now finds himself working as a dairy manager at Kroger after being laid off from his corporate role. His personal life reflects a similar state of flux; he is divorced but maintains a steady relationship with a girlfriend, while his teenage son is a sporadic presence in his life, primarily dependent on the timely arrival of child support payments.
Roger grapples with profound insecurities, which manifest in a troubling obsession: he is an ardent, self-identified men’s rights activist. His unsettling transformation—from a solitary newcomer to an even more isolated fanatic—serves as the compelling focus of “Angry Alan,” a sharp and darkly humorous exploration of contemporary societal anxieties.
This film delves into the complexities of Roger’s character, illustrating how his desperate search for belonging leads him down a path of extremism, ultimately reflecting the broader themes of discontent and alienation that permeate our current, tumultuous world.
Written by the British playwright Penelope Skinner and skillfully directed by Sam Gold, known for his work on “An Enemy of the People,” this provocative one-man show made its debut off-Broadway on June 11 at Studio Seaview. The production delves into a politically charged landscape that many in Hollywood might dismiss outright.
as the character Roger delivers a series of impassioned rants that challenge societal norms. He addresses sensitive topics such as sexual assault victims, critiques the mainstream media, and exposes his own limited perspectives on gender. The performance is a bold exploration of uncomfortable truths, pushing the boundaries of conventional discourse and inviting audiences to confront the complexities of these pressing issues.
It is commendable that Krasinski has chosen to return to the theater with an original piece that presents both challenges and opportunities for misinterpretation. In his portrayal of Roger, the star of “Jack Ryan” skillfully subverts his quintessential all-American, heroic image, crafting a character who is not only eager for approval but also flawed and open to criticism.
Picture Jim Halpert from “The Office,” but with a significantly altered mindset influenced by the controversial ideas often associated with Joe Rogan, resulting in a character that is both familiar and unsettlingly complex.
As the play opens, Roger finds himself ensnared in the digital world of Angry Alan, a charismatic figure reminiscent of Andrew Tate, who espouses the belief that “most men are intrinsically good” and blames a so-called “gynocracy” for their struggles. Captivated by Alan’s anti-feminist rhetoric, which permeates his videos and blog entries.
Roger experiences a sense of validation for the feelings of inadequacy and frustration that have long plagued him. In this moment, he perceives a voice that resonates with his own discontent, offering a narrative that seems to articulate the very grievances he has silently endured for years.
As he delves deeper into the manosphere, he finds himself contributing financially to vague initiatives aimed at “male mental health,” despite his precarious financial situation. His quest for understanding masculinity leads him to a seminar titled “Reclaiming Your Masculine Power,” where he hopes to rediscover a sense of identity.
Eager to share this journey, he invites his friend Dave to join him at an Angry Alan men’s rights conference. However, Dave is currently grappling with the fallout from an incident at an office Christmas party, where he faced backlash for his inappropriate behavior towards a woman. Roger, seemingly unfazed by the complexities of contemporary gender dynamics, dismisses the seriousness of the “Me Too” movement, suggesting that it is easy to critique until one is personally connected to someone facing accusations.
The production occasionally resembles an excruciatingly intense TED Talk, leaving viewers feeling unsettled and overwhelmed. Throughout the 85-minute duration, Krasinski remains predominantly ensconced in the drab confines of Roger’s suburban living room.
a space intentionally designed by the collective Dots to evoke a sense of claustrophobia. He navigates through a series of photographs and talking points with the fervor of a provocative pitchman, reminiscent of a snake-oil salesman eager to incite outrage and provoke thought.
This approach not only amplifies the tension but also challenges the audience to confront uncomfortable truths, making the experience both engaging and disconcerting.
Skinner navigates a delicate balance in her exploration of the underlying causes of Roger’s suffering, carefully refraining from endorsing his prejudices and sense of entitlement. Throughout her analysis, she adeptly portrays Roger’s rants as both disturbingly relatable and absurdly exaggerated, bordering on the realm of satire.
One particularly striking instance occurs when he laments the cultural impact of the “Fifty Shades of Grey” series, expressing confusion over the modern American woman’s dual desires to attain political power while simultaneously seeking submissive experiences, as exemplified by his incredulous question about why she would want to be both president and “spanked on the bottom.”
This juxtaposition highlights the contradictions within his worldview, revealing the complexities of his character while also inviting readers to reflect on broader societal themes.
Krasinski makes his return to the New York theater scene for the first time since his performance in 2016’s “Dry Powder,” after a period spent balancing blockbuster action films like “Fountain of Youth” with his more personal directorial endeavors such as “A Quiet Place.”
Engaging in a monologue that spans an hour and a half is no small feat, yet the affable A-lister approaches the challenge with a blend of humility and self-assurance that captivates the audience. This clever casting choice quickly establishes a connection between the audience and his character, Roger, even as his actions grow increasingly erratic and unstable.
As the play races toward its unexpected conclusion, Krasinski delivers a performance that is both surprising and multifaceted, showcasing dimensions of his acting talent that have not been previously revealed.
