“ Prince Fagot ” Off Broadway Review: one of the best new parts of the year is a portrait of Royal Wild Family
It can be noted in complete safety that the new striking play “Prince Fagot” will not be staged in the United Kingdom of soon, and not because the title contains an insult for homosexuality. On the contrary, the Prince of the title refers to Prince George, the 11 -year -old son of Prince William and Princess Kate. In 2017, when the royal family tour in Poland and Germany, Prince George de Wales, only four years at the time, took a very elegant pose when he and his family were distant on a helicopter. Is this royal gay gay? Is it even forbidden to speculate on the sexual orientation of children?
Jordan Tannahill’s “Prince Fagot” opened Tuesday in Playwrights Horizons in a co -production with Soho Rep, and as the game clearly does in his first minutes, all children have romantic desires even if they do not know what sex is. It is assumed that children are heterosexual, who are false, or that children are asexual, which is absurd.
“Prince Fagot” is half fantastic, on what would happen in a decade if the adult Prince George was gay; And it is partly the reality, on the childhood of gay and trans actors who occur in this world production, which is full of these same actors struck very elegant poses in the photographs taken years ago. In other words, “Prince Fagot” is the meta-theater to its best and most stimulating.
This means nothing to call “Prince Fagot” the best game of the 2025-26 theater season, which has only six weeks. This means something to put Tannahill’s game in the same company in August as the “liberation” of Bess Wohl, the “damn” by Branden Jacobs-Jenkins and “Becoming Eve” by Emil Weinstein, who all opened its doors earlier this year. As with these American writers, Tannahill, a Canadian, is a great storyteller, and he runs quickly and furiously with this captivating story: what happens if a contemporary prince comes out gay and marries another man when he is finally king?
Tannahill tries to distribute his George from the real George. An actor of “Prince Fagot” tells us: “Yes, he is a real child named George, but obviously it is not his story, only he can write this for himself. It’s our story. ” ALL RIGHT.
In addition, in Playbill credits, Tannahill lists the actors, and instead of giving us the characters they play, he identifies them with a figure, one to six. Fortunately, on stage, it is much less shy. John McCrea offers a most troubled and sympathetic prince George, with K. Todd Freeman and Rachel Crowl playing his very solidarity parents, William and Kate. While Tannahill sees it, the future king and queen supports the point of disbelief. Payment is that their benign behavior in front of a public relations storm provides the launch of the double Cast David Greenspan to steal the show.
When George leaves his parents and talks to them about his new non -white boyfriend (the very charismatic Mihir Kumar, a real heart), their main concern is that the prince came out at one of the gay butler of the Palais (Greenspan) five years earlier. When William and Kate finally met the boyfriend for a weekend in Anmer Hall, they leave the publicist in the royal family (once again, Greenspan, being a comic delight) to probe the past of the young common to warn him of the hash tabloids. There is no time to waste: a photo of the two young men holding hands on the London train has already appeared in the tabloids.
“Prince Fagot” shares a certain number of themes, in particular the nature of privacy and fame, with the Netflix documentary in streaming currently “Harry & Meghan”. Fortunately, Tannahill does not transform his subjects into pathetic victims while luxury in luxury in their Montecito field.
As written by Tannahill and interpreted by McCrea, Prince George quickly appears as a real work, a complex character who captivates without becoming a victim of the press and the royal family at the Harry and Meghan – not to mention Princess Diana in many books, television shows and films.
This fictitious George enjoys such an unusual sex life that all mobile phones of the Playwrights Horizons Theater obtain the treatment of the pre-Fourraine bag. Simulated sex is graphic and often has slavery. Tannahill’s ruminations on the tenderness of royalty for the ritual and the decorum make this prince a perfect adjustment for the world of S&M game.
There is no Stewart completes the casting playing Princess Charlotte. The youngest child of Kate and Williams, Prince Louis, can be relieved to know that Tannahill left her outside this family portrait. Maybe the playwright should also have eliminated his sister. Playing Charlotte, Stewart doesn’t have much to do, but she gives a speech, depending on her rehearsal interview, on what a princess means being in one of the New York Dragsters balls. These spoken biographies, fictitious or not, could interrupt the flow of the story; Instead, under the clever direction of Shayok Misha Chowdhury, every solo moment improves, and sometimes even dominates the royal drama. Chowdhroy also manages to create glamor and grandeur, as well as real pathos, on a very small scene. His design team is of first order: David Zinn (Sets), Montana Levi Blanco (costumes), Isabella Byrd (lighting) and Lee Kinney (sound and original music).
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