Review: FRAT, Old Red Lion Theatre

FRAT is a world premier play by Max Allen at Old Red Lion Theatre. Frats or Fraternities are a uniquely American institution and Namesake Theatre provides a handy glossary of terms in the programme to assist as we navigate Beta Chi Omega’s culture of casual misogyny, ableism, homophobia and microaggressions. The accents are authentic, given that the ensemble of recent LAMDA alumni playing Alex, Brent, Charles, and Dexter are all transatlantic, and this serves the play well.

At the top of the show the audience is immersed in complete blackout – immediately unnerving us potential pledgers for what might come next. Lights come up on the L-shaped intimate space with sparse set where Luke Stiles, playing the ambiguously shady Brent, sets up the plot by practising his Vice President’s speech. The power play in the relationship between Brent and Alex (played by Max Allen) is then established with performative banter of undermining insults, delivered with confidence and the smirking traditions of privilege.

The pair are joined by Elliott Diner, bringing the stereotypical chiselled prettiness of Fratboy Charles, and Will Hammond as Dexter, whose quiet intelligent performance delivers the saddest and most poignant arc of the story. Knowing he was a token bid for the Frat and seemingly the only male respectful of women (he believes in monogamy, with ideas of a regular girlfriend and family mentioned), Dexter finishes with his girlfriend when he is mocked for her pre-relationship sexual behaviour, and ultimately he sells his principles for a senior position in the Frat. All characters display glimmers of insecurities masked by hypocrisy and masculine bravado. But there are also real glimpses of vulnerability, such as when Brent calls his Mum.

A recurring blackout with soundscape of hazing new members punctuates the narrative, but at times it was loud and unclear. Drinking culture underscores the plot as cans and bottles of beer are continually bought on stage, held or consumed, along with more from the cabinet where most drinking action takes place. But if this was meant to represent a bar then it too was unclear; perhaps suggesting the boys are performative drinkers but in an overly demonstrated manner. Although confidently staged by director Olivia Woods the action at times feels forced into a corner by dialogue. However, a female creative team feels valid here, giving balance, as female voices – hoes, girlfriends, mothers or aspirational objects of the male gaze – are very absent from this work.

The play doesn’t moralise and leaves the audience to consider accountability. In the second half when a sexual assault at a Frat party sees lines being drawn, they were silent in a moment of moral crisis. As questions around society’s culpability and moral ambiguity are disclosed and brutal power dynamics slip away, the writing and performers are at their most comfortable. However, the scene changes here are clunky at times, and exposition over action slows the pace.

There’s some work to be done here. If the first half of this play could embrace the lived moments and not continually play inner motivations then the later twist would be even more powerful and the ensemble would fly. Smooth out the uneven transitions and allow the action to flow. But there’s affective relevance to this story. The Lord of the Flies for Frat boys is an uncomfortable watch in a world that is still very much happening beyond the Kappa KKG; where privileged patriarchal systems based on hypocritical morals are clearly playing out in a chilling ‘drinking game’.

Written by: Max Allen
Produced by: Namesake Theatre
Directed by Olivia Woods

FRAT plays at Old Red Lion Theatre until Saturday 10 May.

FRAT will be also be playing as part of Brighton Fringe on 14, 16 and 17 May. Further information available here.