Roger is divorced, demoted, and drifting—lost in an era that no longer makes sense. But when an online personality promises clarity, Roger dives in without looking back. Timely, provocative, and darkly comedic, Angry Alan explores one man’s journey down the digital rabbit hole—examining how far he's willing to go, and how much he's prepared to lose, for validation in a world where “everybody’s changing the rules.”
Krasiniski is a much more commanding stage performer than I ever thought he’d be, and he capably freight-trains through his almost-monologue while never sacrificing nuance or beats of the story. Gold, who theatergoers tend to associate with pregnant pauses, does just as well with Skinner’s gap-free dash as he does with Annie Baker’s pot-head grazes.
Krasinski’s casting (by Taylor Williams) is key to the play’s success. Krasinski exudes nice-guy energy, the kind of lovable, dopey presence that made him stand out on The Office. He’s unbelievably handsome, but his face also kind of looks like a stuffed bear. There’s a pervasive gentleness, a comforting vibe which is then upended, quite dramatically, as he spirals out of control. Roger’s unraveling veers from light comedy to boiling anger to terrifying anguish and Krasinski effortlessly navigates that terrain. With his face lit primarily by a computer screen as he plunges into the abyss, the play’s final seconds are bone-chilling.
| 2025 | Off-Broadway |
Off-Broadway |
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