The message is lost in this uneven and confusing exploration of masculinity, its title aptly representing the wasteland and vacuum of modern manhood.

In 2025, men find themselves in an interesting new era of their gender, where stereotypes and roles are being questioned, and it seems that we now need new definitions, new ways of seeing and defining where exactly masculinity stands today. Promising that is, No Man’s Land, the latest devised theatre work by The Necessary Stage, which ambitiously goes for an “unflinching exploration” of masculinity. But despite its grand thematic intentions and interdisciplinary flair, the production stumbles under the weight of its own excesses, often feeling more like a chaotic collage than a cohesive or compelling journey.

Co-directed by Alvin Tan and Sim Yan Ying “YY”, with a script by Danial Matin, much like how its title implies, No Man’s Land takes on a stark, almost bare aesthetic at the Esplanade Theatre Studio. In that sense, this is a transformable space, one that allows for its cast to take on various scenarios to explore masculinity across time and space, morphing from gym floor to sumo ring. The five-member ensemble of Michael Tan, Neo Hai Bin, Shahizman Sulaiman, Suhaili Safari and Vishnucharan Naidu, who co-devised the show, are clad in form-fitting tights, and emphasises how physicality is central to this work, where performers crawl, flex, grapple, and undulate in sequences that veer between feral and absurd.

With how so much of masculinity revolves around social norms and performance, there’s a clear attempt at bringing out that sense of ritual here, primal and symbolic. The only problem is that it rarely lands with clarity or purpose, perhaps reminiscent of how empty our ideas of masculinity too seem to be, whether it’s showing off strength and musculature, or giving in to the almost tribalistic power of testosterone. But to what end though, is often left in question; simply re-presenting these ideas onstage leaves little for further thought or questions.

Scenes unfold like vignettes, and shift quickly from one idea to another. A nearly inaudible conversation between Michael and Haibin as the former tries to impress his values and views on the latter is drowned out by overwhelming music, unfortunately losing its impact, despite Michael’s strong performance. Later, a live singing and drumming interlude by Suhaili offers a fresh texture, segueing into a mother-son scene with herself and Shahizman that’s more engaging but ultimately still fleeting. Choreographer Hafeez Hassan’s work shines when it leads to smooth, seamless transitions, and it is clear that much of the show hinges on his vision, with so many scenes grounded in movement, though it sometimes comes across as repetitive rather than revelatory.

One especially troubling scene involves the entire cast metaphorically “shaving” the lone Indian character, played by Vishnucharan Naidu, a moment played for discomfort and sexual ambiguity, as he moans while being shaved. As much as Vishnu shows strong acting potential, it is to his detriment that it’s unclear whether this sequence is a critique of racialised body image or simply reinforces tired stereotypes, leaving us discomforted but unwilling to engage further. What’s certain is that it lacks sensitivity and subtlety. Later, he’s laid on an “operating table” and symbolically dissected, yet the metaphor is blunt and baffling, rather than illuminating.

In the gym-themed segments, masculinity is reduced to weightlifting bravado and toxic posturing, culminating in an overly theatrical and homoerotic display that feels more juvenile than incisive. Vulgarity is liberally used throughout, often to diminishing returns, with little narrative payoff beyond shock value, and the whole sequence comes off as shallow rather than impactful – we know that this is how men behave, but what of it, beyond the discomfort that comes from bodies not conforming to masculine stereotypes and shame that arises from it?

Performance-wise, Suhaili Safari stands out with her stage presence and vocal versatility, particularly in a closing musical number. The mother-son scene between her and Shahizman offers one of the rare moments of emotional resonance, particularly in how it explores the misogyny inherent towards women, and how differently he treats and sees his ex-girlfriend to his own mother. Unfortunately, much of the rest of the cast struggles with delivery and consistency, with some of their characters coming off more caricature than character.

Several moments stretch the bounds of taste: a monologue about adolescent masturbation delivered in vivid detail, an uncomfortable BDSM fantasy involving a empress dowager, and an orgiastic “circle jerk” montage, all of which feel gratuitous rather than meaningful. Attempts to frame these within cultural or identity-based trauma are weakened by over-explanation and the constant need to justify the work to the audience, a tactic used more than once, including a jarring monologue about masturbation that has little impact beyond trivial shock value – completely wasting Michael’s potential as an actor.

When the characters break the fourth wall to discuss the point of the show, as if pre-empting criticism, it’s hard not to feel the creators are trying to pre-chew the experience for the audience. This kind of over-explanation betrays a lack of confidence in the work’s ability to speak for itself – where this is usually The Necessary Stage’s strong suit, with its use of metatheatre to question its own performance, this particular iteration ends up falling flat, and still very much a work-in-progress that doesn’t engage the audience enough, lecturing rather than allowing us to feel.

To its credit, No Man’s Land is brave in tackling taboo topics, and there are brief moments of poetic potential, such as the father’s silent embrace of his son, but they are drowned out by jarring tonal shifts, uneven acting, and overwrought symbolism. The final musical revue, while nicely choreographed and well-performed, feels like a desperate attempt to tie things together, a bow on a box that was already coming apart at the seams, leaving this show that tries its darndest to be provocative, but instead ends up perplexing and polarising, a muddled meditation on manhood that fails to cut through the noise it creates.

Photo Credit: Tuckys Photography

No Man’s Land played from 12th to 15th June 2025 at the Esplanade Theatre Studio.

Production Credits:

Co-conceptualised and Co-directed by Alvin Tan and Sim Yan Ying “YY” Playwright Danial Matin Choreographer Hafeez Hassan Devisers/Performers Michael Tan, Neo Hai Bin, Shahizman Sulaiman, Suhaili Safari, and Vishnuchandran Naidu Dramaturg Lim Shien Hian Lighting Designer Tai Zi Feng Composer & Sound Designer NgJing Costume Designer MAX.TAN Set Conceptualiser a.syadiq Creative Captioner Su Pạing Tun Production Manager Shining Goh Stage Manager (Phases 2,& 3) Vivi Agustina Rehearsal Stage Manager (Phase 1) & Assistant Stage Manager Phases 2 & 3) Georgia Sim Set Coordinator A Kumarran Project Manager Natasha Fathin