Angry Alan

Angry Alan started life in the living room of a corporate housing block in New York in early 2017. (It’s probably worth mentioning that we are married, so particularly well situated to come up with creative ideas late at night, or first thing in the morning over a cup of coffee.) During this particular time, we were in rehearsals for a play at MTC, the political landscape was shifting dramatically, and we had recently watched a documentary called Amargosa. It’s about Marta Becket, a former Broadway and Radio City ballet dancer who buys an abandoned theatre in the Nevada desert, creates her own show, and performs it to an imaginary audience she has painted on the walls. We began talking about creating a piece which could respond urgently to the times we were living in, something we could make ‘happen’, without the need to wait for the slow-moving programming decisions of traditional theatre venues. Like Marta, we had no idea if our idea would or could ever find an audience. But since those early conversations, somehow the story we created has travelled around the world: from Aspen to Delhi, to Edinburgh, London, Canada, in translation in Paris, Brazil, Italy, Germany and Estonia and now – in a brand new incarnation commissioned by Studio Seaview – and with an exciting new creative team – to New York City. In some ways, it’s hard to reflect on the extraordinary journey of this play, because Roger’s story feels – if anything – more urgent in 2025. And that thought cannot exist without some sadness. But we are so very grateful to the team behind this production: for the sheer talent, enthusiasm and brilliance of John Krasinski and Sam Gold; and the passion and support of Greg Nobile and everyone at Studio Seaview. We have been galvanised and encouraged to rework the piece, to transform and update it for the present, to bring Roger to a new audience (real, not painted), back in the city where this play was first conceived.

Penelope Skinner (Writer) &
Don MacKay (Co-Creator)