[Theatre Review] The Necessary Stage’s “No Man’s Land” Takes on Modern Masculinity, Perfect Watch for Lonely Male Dudes This Father’s Day Weekend

I walked into No Man’s Land by The Necessary Stage on Friday night with quiet anticipation.

My dad passed away in December last year. This weekend will be the first weekend I will be celebrating Father’s Day without his presence. My son is away on holiday in Japan with his mum. He would not be celebrating the occasion with me either. I was looking forward for some alone time over the weekend to reflect on the role of fatherhood and masculinity. This show seems to be the perfect catalyst. The timing is most apt for me to catch No Man’s Land solo.

Masculinity or in fact, anything about gender identity is always a tricky topic to tackle without veering into clichés or heavy-handed moralising. Thankfully, the play mostly sidesteps these pitfalls, delivering a witty, engaging, and thought-provoking experience that feels both timely and entertaining. Still, while I found it refreshing, a few creative choices held it back from being truly subtle.

Co-conceptualised and co-directed by Alvin Tan and Sim Yan Ying “YY”; written by Danial Matin; and choreographed by Hafeez Hassan, No Man’s Land dives into the complexities of modern manhood with humour, movement, and sharp dialogue.

The ensemble cast performed by Michael Tan, Neo Hai Bin, Shahizman Sulaiman, Suhaili Safari, and Vishnucharan Naidu, playing men (and one woman) from different walks of life, navigates societal expectations, personal insecurities, and the often unspoken pressures of masculinity.

Overall, what I truly appreciated was the play’s ability to balance levity with depth. The physical theatre sequences were dynamic, using movement to express what words sometimes could not, particularly in scenes where characters struggled with vulnerability. While the actors moved on stage, it triggers my mind to stray into my personal memories, further endearing me to the narratives, entangling them with my own.

From the peppered laughter from the audience, the humour generally landed well, making the heavier themes more digestible without undermining their significance. Nothing was taboo, including subjects like masturbation and sado masochism, delivered in an array of Singaporean languages, from Mandarin to Hokkien to Bahasa Melayu.

During a planned intermission, one of the cast members mingled with the crowd, explaining some of the scenes and themes. It did help a lot to fully grasp the intented interpretations, but I also ponder if leaving things ambiguious would have work just as well as part of the magic of theatre is also open interpretation.

The play’s final act, while impactful, appears to lean a little too hard into broad statements about women’s roles in shaping masculinity. While the intention was noble, acknowledging the interconnectedness of gender dynamics, the execution felt somewhat tacked on, like an obligatory conclusion rather than an organic extension of the narrative. A more open-ended finish might have left a stronger impression, trusting the audience to reflect rather than wrapping things up neatly. Nonetheless, this could be just me, as someone who has grown weary of unnecessary complex woke debates about gender representations.

Other than these minor gripes, No Man’s Land is a strong, accessible production that will resonate with both theatre regulars and casual audiences. It does not shy away from asking tough questions, and its high entertainment value ensures it never feels like a lecture.

If you are looking for a play that challenges norms while keeping you thoroughly engaged, this is worth catching, especially for lonely male dudes like yours truly – it’s the perfect for the Father’s Day weekend.

Actually, all gender will enjoy this show lah. The title is a bit of a clickbait.

The Necessary Stage’s No Man’s Land runs until 12 to 15 June at the Esplanade Theatre Studio. More details.