REVIEW: Frat, Namesake Theatre, Prague Fringe 2025 ★★★★★

Content Warning: Discussion of consent in reference to sexual violence.

In an archetypal American fraternity, a group of obnoxious, over-zealous ‘frat brothers’ organise an elaborate party with the local sorority – an event that ends up fracturing their relationship and pulling them into a power struggle. From the mind of writer/actor Max Allen, Frat traps the audience in the oppressive machismo atmosphere of the American frat house, sharply skewering the obsession with loyalty, conformity and the cycle of misogyny these institutions perpetrate. 

The opening moments of the show perfectly establish the idea of a cultish loyalty which permeates the story. In total black-out, the voice of the Vice President External of the ‘Beta Chi’ college fraternity barks initiation orders to an unseen group of students who all reply in eerie unison like a frightened squadron of soldiers. This bleeds into a distant chorus of echoing, boisterous male laughter and footsteps, instantly creating a genuinely terrifying atmosphere. These ‘Chapter meeting’ sections are a device that is used several times during the show to break up the narrative segments of ‘banter’ and faux-camaraderie in the frat headquarters, and serves to evoke a feeling of unquestioning cultish devotion and ritualistic, almost messianic masculinity which underpins the fake sitcom of their regular social relations. The total darkness and ambient sound conjures the idea that behind the dick jokes and vulgar humour, is a shady, secretive underbelly hellbent on pledges, and preserving seemingly abstract ideals of tradition and order.

In the frat house’s main room, we are introduced to our four central characters, each with instantly very well distinct personalities. We have the leader, Alex (Max Allen) who is the true believer of the frat’s so-called ideals; obsessed with maintaining the status quo of fraternity culture, and whole-heartedly believes they are the ‘scholars and future leaders’ of the United States. Alex and his right-hand man, Charlie’s (Elliott Diner) seriousness toward the organisation is countered by Brett (Luke Stiles) who provides much of the comic relief throughout the show, portraying the more vulgar, hedonistic and crass American frat boy archetype, spouting casual misogyny and phrases like ‘dickwad slayer of poon’ to massive laughs (and horror) from the audience.

These characters’ reverence toward the organisation is countered by Dexter (Will Hammond) who serves as the outlier of sorts – clearly the most self-aware and empathetic of the group, constantly struggling to engage with his frat brothers on matters of their personal feelings or any serious topic. Several times Dexter will interrupt the other student’s alpha-male personas with poetic phrases and invitations to discuss their emotions, but is always met with ridicule or straight-up avoidance, encapsulating the futility of trying to break from the performative masculinity spurred on from closed, patriarchal groups. 

As the story progresses, the group’s dynamic is ruptured by the events of their ‘champagne and shackles’ party. While this party serves as a mixer with the girl’s sorority, we are unfortunately trapped with the men, whose drunken escapades off-stage stir tensions within the group. Dexter discovers that his girlfriend has been secretly sleeping with another member — the aptly nicknamed “Scrotal Recall” — and that his supposed brothers have kept it from him, fostering mounting mistrust among the group. The central drama arises from an accusation from one of the sorority girls over a non-consensual sexual advance from Brett, leading to a shattering of the frat’s illusion of honour and integrity that uproots their dynamic and exposes the all-too-real behaviours of victim-blaming, denial and hypocrisy which arise from male entitlement.

The performances and direction are especially strong in this second half, where proximal distance grows wider between the characters, fast-paced jokey dialogue is replaced by lingering, uncomfortable silences, and low, ominous tones emerge in the sound design. Despite some justice being served on an individual level toward a perpetrator of sexual assault, the narrative does not provide us with satisfaction. Instead, it leaves us with the question of how much real change can be made in an inherently corrupt system. While the sensitive Dexter’s points are somewhat validated and his rank elevated, he is still left fulfilling a function in an organisation fuelled by sexism, conservative ideals and white male supremacy. 

While the toxicity and abuse that occurs within American fraternities is not uncharted territory Frat is so full of sharp writing, effective design elements, consistently strong performances, and prescient questions, that it is a must-see show for fans of great drama.

Recommended Drink: a Keg Stand of Budweiser or a simple Four Loko, served in a Red Solo Cup of course.

Catch Frat one last time tonight Friday 30th May at 19:15 (50mins). Tickets are available through the Prague Fringe Online Box Office.

Image Credit: Madeleine Bloxam