In this meta-theatrical satire, an ensemble of queer, trans, and nonbinary performers reckon with how the forces of power, privilege, and colonization play upon their lives as the playwright offers a central provocation: what if queer people dared to imagine a future monarch having a life that resembled their own?
Contrasting joy, love, and freedom of expression with anger, resentment, and loss, Prince Faggot fully encompasses the queer experience. It forces an audience to consider not only the enjoyable parts but likewise the parts hidden from oneself and/or others. Laced throughout Crow’s monologue is a mixture of kindness and fury that offers a profound truthfulness. “You will never know that wound,” she says. “You may think you know, but you will never know. And I resent that you’ll never know. But I guess I’m also thankful that you’ll never know.”
This is a rich ensemble. Rich in talent and rich in generosity toward one another and to us. Chowdhury’s direction is seamless. The action is deceptive because it is choreography on so many levels. The scene changes are more akin to hand-offs in a relay. And no one drops the baton. Mention must be made of the many characters that almost every performer takes on with what can only be called raw glee. Don’t let the title, “Prince Faggot”, put you off. Fasten your seatbelts and open your mind. You will be surprised at how much new information you can stuff into that noggin of yours.
| 2025 | Off-Broadway |
Off-Broadway |
| 2025 | Off-Broadway |
Off-Broadway |
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