The Least Problematic Woman in the World Off-Broadway Reviews

Least Problematic Woman falters only slightly in certain one-off scenes, like a fight between Mulvaney and her mom depicted an MMA match, that don't entirely cohere with the piece's main framework. But Mulvaney's comic chops make even such moments fun to watch. Fun is something Least Problematic Woman offers in spades, and being able to share in trans joy with Mulvaney is a treat.

You’ll find none of that negativity at The Least Problematic Woman in the World, Mulvaney’s ironically titled and joyful autobiographical solo show at the Lortel Theatre. The audience is full of Mulvaney fans, supporters, and trans allies, and they’re sending nothing but heart emojis back to the actress/influencer.

Immersed in a world of pink glitter, absurdity, and taboo, Mulvaney’s one-woman spectacle, “The Least Problematic Woman in the World,” is one of the most arousing and entertaining shows off-Broadway, following Mulvaney on her journey to womanhood, from the heights and perils of youth to her social media stardom as a transgender icon.

With a barrage of clever metaphors and thinly veiled references to her real-world career, Mulvaney takes audiences on a ride through the milestones of her life, from surviving Catholic school to her “Days of Girlhood” TikTok series to the Beergate controversy that made her reevaluate her brand and her place as one of the most visible trans women on social media. Fans of Mulvaney’s will appreciate the nods to her best-known moments, while those less familiar with pop culture may sometimes be left adrift. But odds are they’ll be having too much fun to care.

There are some (though not enough) moments of genuine reflection in “The Least Problematic Woman in the World.” The show was called “Faghag” when it originated last year at (where else?) the Edinburgh Festival Fringe, but the new title is a bette fit, since Mulvaney mostly works hard to charm and amuse and entertain us. Much of it lands. It helps that she’s willing to make fun of herself, such as the final song of self-acceptance. It is supposed to be a stirring anthem with a refrain that the audience is asked to sing along with repeatedly. But it is almost impossible to sing, even when the words are projected on the screen with an old-fashioned sing-along dot riding along the top:

Problematic or not, by the finish of The Least Problematic Woman in the World, you will understand Dylan Mulvaney better by empathetically entering the world in which she lives. It’s a very entertaining way to spend 75 minutes.