Anne Washburn’s new play “Anon,” directed by Anne Kauffman at MCC Theater, examines political paranoia, QAnon conspiracy theories, and TikTok addiction within a Texan family, colliding real-world extremism with Shakespearean tragedy.
Political paranoia, internet addiction, and domestic tension collide in a Texan kitchen in Anne Washburn’s new play, “Anon,” currently running at MCC Theater through November 1. The production, directed by Anne Kauffman, opens on a scene familiar to many modern households: a teenager arrives home and heads straight to her room, entirely ignoring her mother’s cheerful greeting about the school day.
At the center of the story is Jeanie, played by Crystal Finn, a super-online mother swept into the whirlpool of far-right QAnon conspiracy theories. Finn plays the character with a signature mix of featherbrained self-assurance and wide-eyed panic. Jeanie constantly posts TikTok videos to practically no one, warning of a gathering storm
and asking followers, why is Fauci still free?
Conspiracy Theories and Suburban Friction at MCC Theater
Despite her sparse following, Jeanie remains convinced of the importance of her digital crusade. Her delusions eventually escalate to the belief that John F. Kennedy Jr. did not die in 1999, but is instead in hiding and preparing for a triumphant return. While her obsessions might initially seem eccentric, they cause genuine harm at home. Her teenage daughter, Delia, played by Izabel Mar, has absorbed her mother’s insistent bigotry, while her husband, Michael, played by Andrew Garman, simply dreams of escape.
Friction intensifies when a gay couple moves into Jeanie’s placid suburban neighborhood. Jeanie immediately takes to the internet to rant against the pride flag displayed on their porch. Ironically, this couple serves as her most attentive audience. Adam, played by Jeff Biehl, procrastinates by scrolling through her content, while Will, played by Jeremy Shamos, quickly passes from puzzlement to an all-consuming obsession with her posts.
Design Elements and Staging Choices in Manhattan
The production relies on minimalist set design by the dots collective, complemented by lighting from Cha See and projections designed by Jared Mezzocchi, which include a bizarre fantasy talk-show sequence. Projections set the tone with bold temporal and political markers.
September, 2024,
the projections declare, before sound designer Tei Blow amplifies the spooky Halloween vibes with the accompanying title Biden’s America,
as noted in reporting by the New York Times.
Kauffman deliberately selected her cast for their comedic timing, utilizing Garman, Shamos, Biehl, and Finn as skilled comic performers. Yet the play attempts to bridge broad satire with deeper literary tragedy by incorporating elements of Shakespeare. When Delia receives a school assignment on King Lear,
Washburn attempts to link QAnon storm imagery directly to the cataclysms found in Shakespearean drama.
in a soliloquy, words take the place of swords.
Izabel Mar as Delia, via New York Times
The Challenge of Satirizing Modern Extremism
Washburn has earned acclaim for her theatrical explorations of apocalypse, including Mr. Burns, a Post-Electric Play,
The Cauldron of Fiery Fire,
and her 2010 miniature The Small.
However, the production struggles to maintain a precise balance between comedy and horror. The sheer velocity and bizarre nature of real-world conspiracy theories frequently outpace artistic satire.
Although the narrative builds toward a promised storm, the transition of Jeanie from an online keyboard warrior to a full-fledged extremist remains difficult to trace on stage. Performances for Anon
continue at the Manhattan venue through November 1.
