Inter Alia Play Review: West End's Must-See Drama on Motherhood and Justice
When Inter Alia sold out its entire run at the National Theatre last summer, the concept of the 'Manosphere' still felt like a fringe phenomenon. Since then, the glossy veneer of fiction has been stripped away in favor of blunt documentary realism. Louis Theroux's Netflix special, Inside the Manosphere, exposed to millions how online pile-ons can escalate into horrific violence, both in public and behind closed doors. In a remarkably timely fashion, Suzie Miller's Inter Alia has now arrived in the West End, offering a compelling and urgent response to the negative ways the internet is shaping and breaking men.
A Nuanced Examination of Both Sides
Similar to the play Adolescence, which provided a thorough exploration of misogyny within internet culture, Inter Alia excels in its nuanced examination of both victims and perpetrators. The play delves deeply into why young men like 18-year-old Harry, at the heart of the story, might grow up to exhibit destructive behaviors. There is a particularly powerful line delivered by middle-aged dad Michael, portrayed by Jamie Glover, about how many men in their forties and fifties now fear their past actions catching up with them in the age of MeToo.
The central focus, however, remains on the poisonous potential of online chat rooms and forums to corrupt young minds. Mother Jessica Parks, a lawyer and parent to 18-year-old Harry, struggles to survive the fallout of a criminal accusation when her courtroom work hits uncomfortably close to home. Rosamund Pike, recently seen in Saltburn, delivers an arresting performance as the perpetually on-edge Jessica, who is constantly one twist away from a nervous breakdown yet manages to hold on.
Stylish and Provocative Storytelling
Miller's script follows Jessica as she vocalizes her thoughts aloud, effectively narrating the play. We witness her in court as a Crown Court judge, handling cases involving young people and sexual abuse, and during her home life in a middle-class suburban house where her son behaves like a stereotypical teenager. The message is clear: achieving a balance between being a mother and a judge is an impossible task, both materially and morally.
While some dialogue feels overly explicit in detailing minute-to-minute activities, much of it is bitingly progressive in its representation. One scene depicts Jessica and her husband Michael having sex, but instead of intimacy, Jessica shouts out her internal monologue of intrusive thoughts and PTSD flashes from the courtroom. This carnal embrace exemplifies how Inter Alia is both stylishly premium and morally precise.
Surely an Olivier-baiting piece for the National Theatre, that intimacy scene is ingeniously devised using a guitar to simulate intercourse. Michael strums notes to imply his sexual actions, with the instrument encased around Jessica. It is sexy, provocative, and utterly unnerving. Moreover, Miriam Buether's transportative set design captivates from the start, seamlessly shifting from a forest to a karaoke bar with minimal set changes.
A Play for the Theatregoing Elite
Inter Alia is aimed at real lawyers and solicitors who follow the news and live in perpetual fear of its impact on their families. This is why the play resonates so powerfully with the theatregoing elite. Incredibly wealthy individuals, including Rishi Sunak, who sat in the row behind the reviewer on press night, cannot buy their sons away from the threat of the Manosphere. No amount of money can shield them from this pervasive danger.
The finale rushes two ideas, conflating them into one without allowing either the purity of space and time they deserve, but the point remains: this is a blistering time to examine masculinity, and Suzie Miller is leading the charge. Inter Alia plays at the Wyndham's Theatre until 20 June, offering a must-see experience for anyone interested in contemporary drama and societal issues.
