Theatre Review

Angry Alan

85 minutes without a break. Studio Seaview, 305 W. 43rd Street.

For almost a decade, audiences have come to appreciate Jim, the calm, somewhat paralyzed character played by John Krasinski in “The Office.” He really was one of the most beloved figures on television.

So it’s quite a fascinating choice—Krasinski stars in Penelope Skinner’s bold play, “Angry Alan,” which opened off-Broadway on Wednesday at Seaview of Brand Spankin New Studios.

In the play, Krasinski portrays Roger, a divorced father whose presence, although largely offstage, captures instant affection. Directed by Sam Gold, this production unfolds in what feels like a sitcom-esque shoebox home.

As the story progresses, Roger’s initial charm faces significant tests. He quickly becomes immersed in disturbing ideologies found in the darkest parts of the internet, reflecting a downward spiral into anxiety and negativity.

This leads to some unsettling questions for the audience. Could someone struggling emotionally, possibly someone we know, follow a similar path? The thought lingers, perhaps uncomfortably.

Roger’s backstory is layered with unfortunate circumstances. His teenage son barely acknowledges him, his artistic girlfriend drifts away after finding a new companion, and he forfeits a lucrative job before settling for grocery store work.

In his despair, he turns to “Angry Alan,” a YouTuber who vocalizes the frustrations of men feeling sidelined by a world seemingly dominated by women today.

At first, diving into this online content seems harmless. Indeed, more men are grappling with depression these days. The pressure to fulfill traditional male roles can be burdensome. Yet, what starts as a mild fixation escalates into obsession—filled with rage and toxic rhetoric.

Roger still finds ways to laugh, but the unease increases. He immerses himself in “Angry Alan,” losing track of time and money, attending chaotic conventions with eccentric followers. As a result, he neglects responsibilities, like child support, and harbors secrets from his girlfriend. By the end, his crude humor creates an uncomfortable atmosphere.

Krasinski shines by adapting to these dynamic, often jarring changes while maintaining his charming on-screen persona. He reveals a depth and magnetism that surprises, especially given the comedy background he’s known for.

Much to my surprise, Krasinski proves to be a more commanding performer than I anticipated, navigating through rapid transitions while preserving the story’s nuanced layers. Gold’s direction echoes the pacing seen in Annie Baker’s works, blending seamlessly with Skinner’s fast-paced writing.

That said, “Angry Alan” is solid, rather than spectacular. I find the ending particularly obscure. It features a visually striking moment, followed by a softer conclusion, with Krasinski showcasing subtlety in his performance.

However, the climax feels a bit too orchestrated, weakening the impact of its commentary on gender and masculinity. There’s a discord between humor and depth, veering towards an essay-like feel. Ultimately, the resolution wraps up a bit too abruptly, as if signaling the end too soon.

Still, it’s a play that lingers in the mind long after the curtain falls. “Angry Alan” encourages a thoughtful reflection for its audience.