John Krasinski Photo by Jonny Cournoyer

The focus of Angry Alan is on Roger (John Krasinski), who is divorced, the father of a teen-age son, and currently working as a dairy manager of a small-town Kroger grocery store. That's "Roger-now," as he describes his present situation. "The Roger-from-before," however, was a big-shot executive with AT&T, drove a BMW, and regularly attended lavish conventions in major cities across the country. He was abruptly fired from that position, and he harbors feelings of resentment that men like him can't get a fair shot.

Stumbling into the online manosphere one day, Roger comes across videos featuring Angry Alan, an outspoken influencer and advocate for men's rights. The unseen figure, who is a fictional amalgamation of real-life bro-casters like Joe Rogan, Andrew Tate, and Jordan Peterson, provides Roger with the intellectual ammunition for fighting his own battle against an oppressive system designed to keep him and men like him at heel. He comes to the realization that he is living in the "Gynocracy," which he delineates as "a female dominated political regime which took over decades ago and has been spreading vicious misinformation about how men are totally evil! And this is the reason why ordinary men have finally started fighting back!".

As the play proceeds, Roger becomes increasingly more entrenched in Angry Alan's dogmatic precepts, and these afford new perspectives on his relationship with his ex-wife and "troubled" son. His new-found epiphanies cause especial tension with his girlfriend Courtney, whom he says has taken the "blue pill," which makes "you believe the propaganda as presented to you by our corrupt and biased mainstream and by the feminist agenda." On the other hand, the "red pill" reveals the truth behind Beyonce's dictum: "Who runs the world? Women. Women run the world."

If all of this sounds hateful and offensive (and a good deal of it is), the exquisite and masterful performance by Krasinski makes the red pill seem rather tempting after all. He is thoroughly ingratiating as he draws the audience into his story and exudes genuine joy as he discloses the analytical arguments posited by his online guru. Contrary to his adorably wry, wise-ass persona of Jim Halpert from "The Office," Krasinski presents a fully realized Roger, who is boyish, vulnerable, and desperately looking for personal validation. As the character, he mentions that he felt personally affronted when he discovered Courtney wearing a t-shirt advising, "carry yourself with the confidence of a mediocre white man." It is funny but also shows the cruel micro-aggressions Roger faces on a daily basis.

There are gasp-inducing cringe moments for sure, particularly when he is telling loathsome sexist jokes, but Krasinski's Roger is so likable, we forgive him even that. And as Roger's world starts spinning out of control, we are sympathetic while simultaneously glad for it in the abstract.

The play also benefits from Sam Gold's resourceful direction and swift pacing. Not only does the character speak (mostly) to the audience directly, but Gold makes productive use of the auditorium itself. This adds to the sense of intimacy and the ability to be drawn in while many in the audience would be repulsed if they happened upon the ideas online. Noting the contradictions between women demanding respect yet embracing the Fifty Shades of Grey franchise, for example, Roger says: "Modern American Woman wants it all her own way: she wants her own career. She wants to be president. And she wants to be spanked on the bottom. And meanwhile, Alan says, men are getting more and more confused."

The thoroughly engaging character study is complemented effectively by a fascinating clinical approach. Notably, the scenic design by dots offers unusual perspectives of familiar spaces. For instance, Roger's suburban living room is tilted slightly upward and includes two-dimensional set pieces. A hotel conference room includes several mannequins. It is as if we are looking at Roger's life through a series of dioramas or a historical wax museum exhibit. Isabella Byrd's lighting, Mikaal Sulaiman's lighting, Lucy Mackinnon's lighting, and Qween Jean's costumes all contribute to the sense of bewilderment, shock, and surprise the play evokes.

As a social activist play, Angry Alan is both dramatically gripping and politically illuminating. While it does not provide any easy answers, it exposes the underlying issues that are at the heart of the nation's current undoing.