My Own Take: 'Anon' Opens Off-Broadway at MCC.

The show: ”ANON” by Anne Washburn at off-Broadway’s Manhattan Class Company (MCC).

What makes it special?: A new play by one of our leading playwrights, Anne Washburn (“ Mr. Burns, a Post-Electric Play “) and staged by one of our leading directors, Anne Kauffman (the wonderful “School Girls, or the African Mean Girls Play”).

What’s it about?: Set just a few years ago in “Biden’s America,” Jeanie (Crystal Finn), lives in suburban San Antonio, Texas with a teenage daughter Delia (Izabel Mar) and husband Michael (Andrew Garman), both of whom have become concerned about Jeanie’s increasing obsession with extreme right wing conspiracy theories on the internet. (There‘s a younger, off-stage son for no particular purpose. Don’t ask.)

When a gay couple moves into the neighborhood — Will (Jeremy Shamos) and Adam (Jeff Bieghl) — and hangs a gay pride flag, things grow progressively darker — on both sides of the street. (And literally, in the case of Cha See’s lighting design.)

Sounds intriguing: Yes, and what makes it all the more interesting — at first anyway — is that Jeanie is portrayed as a loving mother who has certain liberal tastes, at least in the kitchen. Hey, she even likes Shakespeare — if for no other reason to tie into a “King Lear” madness in a storm touch that is just too far a reach.

Jeanie’s marriage, naturally, is showing significant signs of strain due to her growing on-line obsession , inflammatory postings (so extreme she was even shut down on several occasions — and that’s saying a lot), and her dire warnings of “a gathering storm.” (Again, with the “King Lear” imagery that has diminishing effect.)

Delia is concerned, especially when it comes to her mother posting things on TikTok and other platforms about her, even after she has promised not to. Oh, and those Holocaust denial postings, too, are upsetting for the family. The lack of Jeanie’s followers — only in the pathetic hundreds — doesn't slow her down; in fact it makes her more determined to up her social media gambits. After all, it gives her purpose.

But the problem in the heavy-handed play — and one of the many problems — is that it’s not just a slippery slope into madness. It’s a simple minded flume ride. Though Finn gives her character some warmth and a semi-self awareness in the early scenes, Jeanie too quickly turns into nutso territory. The same goes for the gay couple, especially in the second half of the play, which increasingly strains at credibiity. (The staging doesn't help either with the men cowering beneath their table in an overly spare set that doubles for both neighbors’ unpacked homes. That’s another problem with the production. Just to be fair and balanced, the gay couple have a few conspiracy theories of their own, even half jokingly. (Epstein anyone?)

The design by the collective dots is so undistinguished, perhaps to make the point that the two families are more alike than they think. (Yeah, we get it); and just as likely, to make use of the multitude of projections, many of which are unnecessary. Even a long filmed dream sequence at the start of the second act could have been more effective give if it were simply played out on stage.

We never see — other than a cool marriage (an especially underwriter husband character) and an alienated daughter — the other socials religious, moral, economic forces which may have shaped Jeanie. She’s a two dimensional archetype we’ve seen before, only enlivened with a few quirks and a vigorous performance by Finn. Compared to the recent MCC play, “Birthright” whose characters are also in a volatile political and social dynamic but are incredibly nuanced and original, “Anon” comes across as facile and thin.

Who will like it?: Those who see the ‘other’ side as simple minded stereotypes.

Who won’t?: Most QAnon fans. Some discriminating liberals.

For the kids?: Teens might relate to the on-line obsession but drift away from the obviousness of the play.

Looking into the future?: Small cast, a single set and contemporary topic might find homes at some regional theaters, though projection challenges abound. (A glitch in the projections caused one show to be cancelled minutes after the show began; it was the first time I ever experienced something like that.) For the most part, some of Jared Mezzocchi’s projections were unnecessary. A time clock flashes on for no clear reason, seemingly just to give the show an artificial digital tension.

Info: ”Anon” plays at Manhattan Class Company Theatre own 511 W 52nd St. The show runs two hours and 5 minutes including an intermission. More info: 646) 506-9393 or boxoffice@mcctheater.org.