The Neo Men: A Darkly Comedic Exploration of Incel Culture

The Neo Men brings together discussions among men who dehumanize women, referring to them with derogatory terms. These so-called “incels” engage in a coded language filled with both hatred and a, perhaps, twisted sense of bravery. The story opens with a scene the morning after a man has sex, revealing a woman lingering behind a laptop.

Cuckboy, played by Fiachra Corkery, along with his fellow incels—Ghosts, Crusher, and Einstein—display a shared contempt for women. “Feminists have ruined dating,” one character asserts. Yet, as the narrative unfolds, their underlying yearning for connection becomes evident, particularly after a painful episode involving Cuckboy and a character named Margaret.

This show, which debuted at the Edinburgh Fringe, offers a critical lens on incel ideology and the disturbing motivations behind men who lash out at women with such raw misogyny. Directed by Dublin-based Jamie Sykes, it deftly melds dark comedy with heavy subject matter, requiring viewers to confront a culture steeped in hatred, and, curiously, it manages to pull it off.

Visually, the production presents an engaging setup, featuring an actor with cardboard props rather than typical tech. While the script sometimes stirs sympathy for these characters—many of whom have experienced bullying—their loathing towards women is unsettling. Their contempt often turns inward, revealing self-hatred and despair, although the play doesn’t delve into those darker themes as deeply as it might.

What stands out is the portrayal of intense sexual resentment. When they chant about “women,” you can almost feel their frustration radiating off the stage.

The performers deliver captivating and powerful portrayals. The production includes a blend of music and movement that captures the men’s sexual frustration, transforming it into a physical dance reminiscent of Kate Bush’s emotive style. Some of these motifs appear a bit too frequently, potentially diminishing their impact.

Margaret, a journalist in the story, feels somewhat contrived. She questions the men while representing an intellectual counterpoint to their beliefs, even referencing historical injustices like the Magdalene Laundries. When a threat against her arises, it creates an intense moment—especially given the real-world context of online misogyny—yet the tension dissipates rather swiftly.

While the conclusion might lack a definitive punch, the play remains engaging and oddly entertaining, showcasing creative originality throughout. It’s certainly worth seeing.