My Own Take: A Windsor Knot for Off-Broadway's 'Prince Faggot'

The show: “Prince Faggot by Jordan Tannahill which recently ended its extended engagement at Playwrights Horizons' Peter Jay Sharp Theater, will return this fall to Studio Seaview. Performances are scheduled for Sept. 11 to-Oct. 26..

What makes it special?: Well, the title for one. It’s called “a meta-theatrical tragicomedy, an ensemble of queer and trans performers cast themselves in a “thought experiment.”

“Thougfht experiment?”: Yeah. I know. A bit much. But don’t be put off by that pretension. The show is fabulous.

So what’s it about?: Imagine the heir to the throne of England — say, Prince George, perhaps — is gay.

As it turns out in Jordan Tannahill’s play about such a premise being gay isn’t the problem. There are issues of class, of course, with the royals. But it’s more of a problem for the prince’s non-white lover, who is of South Asian heritage, and all too aware of the imperialistic implications in such a high-profile mating.

But in Tannahill’s exciting new play, “Prince Faggot — a co-production of Playwrights Horizons with Soho Rep — it’s an intriguing idea with an unconventional narrative. At the beginning of the play the actors as themselves — gay and trans — sit on the edge of the stage and discuss the playwright’s posit.

An actual photograph of the Prince George — son of Prince William and Princess Kate Middleton — is shown and begins the play’s query. The boy is 12 now; but when he was four when the picture was taken, the child strikes a pose and a has a gaze that one might describe privately as fey, or if kinder, twee.

Could such a kid be gay — and is it even fair to layer that on a child? The show’s six actors dressed at that point still in their street clothes debate that very point, addressing so to speak the pink elephant in the room. Certainly children — even without any implication of sex — have romantic desires. And, after all, society layers strict heterosexuality assumptions and norms on boys and girls from a very young age, so why not gay ones? The actors, too, show and comment on their own childhood photos in clearly fab poses, too.

Canadian writer Tannahill (he’s a fine novelist, too) gets distance from any exploitation accusations, at least for some: “Yes there’s a real child named George, but obviously this is not his story, only he can write that for himself. This is our story.” In the program the producers note that any resemblance the play bears to real events is coincidental.

So getting that quandary at least somewhat out of the way and the meta nature and edgy tone of the work firmly established — the title should also give audiences a big clue that this is going to be a nervy excursion — the story proper begins with the couple’s meeting the royal folks. They are supportive, sort it soon becomes clear that there are two world views at play here and love (not to mention hot sex) bring all together.

Do relationships rule in the kingdom? How human are royals allowed to be? How does duty and privilege affect the young lovers? And what is the price for a seat at the palace? (And I don’t mean the theater on Times Square.)

The porcerlained, dreamy John McCrea plays Prince George as college age sport and Mihir Kumar as his Oxford Indian boyfriend Dev make for one hot couple. (Note: the sex and bondage scenes and tableau on stage are graphic. Audience cell phones are locked away in Yondr pouches.)

They play characters that have complexity and depth, full of flaws and quirks (and kinks). George can be a bit of a bitch, a poppered sub and a “chaotic bottom.” Dev can be a little righteous. Wit abounds.

Did I mention the play is very funny? It is, while at the same time being very human, sad, uncomfortable and clever. It’s my favorite play and production of the season, noting that the season has just begun.

K. Todd Freeman as Prince William and Rachel Crowl as Kate are both terrific as George’s kinda supportive parents. N’yomi Allure Stewart is cast as George’s wisecracking sister Princess Charlotte, a relative minor character during much of the play but who delivers yet another kind of royal perspective at play’s end. Stewart and all the actors step out to have their own time in the solo spotlight with seemingly personal stories that break the fourth wall, and maybe a heart or two.

All of this is staged beautifully by Shayok Misha Chowdhury (who is on a roll along with his “The Gospel at Colonus,” at NYC’s Little Island and off-Broadway’s “Public Obscenities.”).

Turning the small theater space into something quite wondrous, unsettling, intimate and economical are set designer David Zinn, costumer Montana Levi Blanco, lighting designer Isabella Byrd and Lee Kinney who provides the sound design and original music.

Stealing the show — for at least for one incredible scene — is David Greenspan, wearing a white bomb and playing the palace’s force of nature p.r. expert. Greenspan also brings wit and tenderness as the court’s gay butler and George’s sympathetic confident.

Where Tannahill takes the narrative shows that ultimate decisions in circles high and less high, on stage and off, come with costs. It all makes for one unforgettable fairy tale.

Info: princefaggot.com

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