The inaugural production of Seaview Studio, the newly renovated Off-Broadway theater (formerly known as the Tony Kiser), is titled “Angry Alan,” penned by playwright Penelope Skinner and starring John Krasinski. Mr. Krasinski is not Alan, he is Roger, an insecure, confused, gullible “everyman” who quickly falls down a rabbit hole on the internet, where he learns how to place blame on everyone except himself. The dark cave he falls into belongs to “Angry Alan,” who preaches the consequences of “Gynocracy,” and turns his devout followers into misogynistic warriors preparing to take back their world. Sure, Roger has issues, but for the most part he appears to be content with the way his life is going until he is told otherwise. Mr. Krasinski’s Roger can convince the audience he is a funny, appealing, kind, charming, and very likeable person. Or is he? The fact is that for almost the entire show, regardless of Roger’s anxiety, apprehension, and misbehavior, Mr. Krasinski and director Sam Gold manage to make the audience like him enough to forget his faults. Off color jokes and trips down the theater aisle allow this common man to connect with his audience as he slowly becomes intoxicated after swallowing the “red pill.”

Roger is divorced and his ex-wife has custody of their fourteen-year-old son Joe, only giving him visitation rights, which have all but disintegrated into non-existence. He hasn’t talked to or seen his son in weeks. Roger was let go from a managerial, high paying position at AT&T, and no longer sits behind the wheel of a sleek BMW. No reason for the departure is given so you assume the best and believe it was only cutbacks and not any fault of Roger. His ex keeps the house, and he now lives in a modest apartment and works as a Dairy manager at a local Kroger Market. He has a live-in girlfriend Courtney, who has recently started life drawing art classes at the community college and falls into a bohemian crowd of women who live on the edge of feminism. She begins to have little time for Alan and more time for herself and her friends.

On Roger’s day off, he spends most of his time on the computer and one day he nibbles at the bait, and gets caught up in the website called “Angry Alan.” This is where Roger is convinced that his entire situation is the fault of woman becoming too powerful and are taking over the world. They are becoming more educated, receiving better jobs and becoming more independent. This is when Roger becomes angry, or tries to be angry, but only falls prey to the misogynist cult movement “Angry Alan” has created. He buys a ticket to the upcoming convention where Alan will be speaking and spends his child support money on a gold pass which allows him certain privileges. He quickly learns from a reporter that his healthy donation is deposited right into Alan’s large bank account, funding nothing except Alan’s extravagant lifestyle. He is told that his son needs to see him and talk. Roger is excited but bewildered, and quickly the father-son weekend unravels, throwing Roger into a tailspin. Saying much more would be a spoiler alert.

Ms. Skinner has created a script that is heavy handed and dated. The subject matter and conditions are not at all shocking given the near past and present social and political atmosphere. Mr. Gold keeps up a quick pace which never leaves the audience enough time to digest Roger’s quick descent down the dark rabbit hole. Mr. Krasinski is a marvel to watch as he sputters eighty-five minutes of dialogue, slowly transforming into his proposedly real self, and is magnetic when revealing his emotions in silence. Several actors are listed in the program as Cameos, but special kudos to Ryan Colone who brings a reserved depth and emotional strength to his character, in an impressive Off-Broadway debut. Although not the most innovative script, Mr. Krasinski provides a thoroughly entertaining evening of theater in a performance worth seeing.