Exploring “Prince Faggot”: A Groundbreaking Off-Broadway Play

It’s hard to recommend a play with a title that stumbles off the tongue: “You have to see Prince… um….” This was my experience while discussing Prince Faggot, a provocative new work that has taken the stage by storm. Imagining a future where Britain’s Prince George comes out as gay, the play has garnered significant attention—both for its content and its bold name. Following a successful summer run at Playwrights Horizons/Soho Rep, which earned it the title of a New York Times Critic’s Pick, Prince Faggot has returned for a second run at Studio Seaview through November 9.

While much of the focus has rightfully been on the titular prince, played by the talented John McCrea, and his lover Dev (a captivating Mihir Kumar), the emotional core of the play is deeply rooted in the performances of two extraordinary women: Rachel Crowl as Kate, Princess of Wales, and N’yomi Allure Stewart as her daughter, Charlotte. As the mother and sister of George, they ground the narrative in relatable emotional reality, offering glimpses into their complex lives—from Charlotte sharing a cigarette with George outside their grandfather’s funeral to Kate confronting her son after a late night out. Interspersed throughout the performance, they break the fourth wall, delivering powerful monologues, including a poignant final coda that Stewart helped develop in collaboration with playwright Jordan Tannahill.

Photo: Marc J. Franklin

The Power of Female Representation

In a recent conversation with Crowl and Stewart, the two discussed their journey of portraying these royal characters and the importance of their presence on stage as trans women. Crowl, a former punk rocker and seasoned actor who resides primarily in Wisconsin, and Stewart, who emerged from the New York ballroom scene and is the mother of the House of Unbothered Cartier, reflect on how their individual backgrounds shape their performances.

Reactions to Coverage

As the discussion unfolded, it was evident that both actors had noted a significant amount of media focus on the male characters in the play. “Can you blame the large demographic coming to see something titled Prince Faggot not being as interested in two trans women?” Stewart mused. She emphasized that while she felt slightly invisible to audiences, within the cast and team, she felt valued and seen. “My friends left feeling everything—challenged and inspired by the language and the themes of love and power,” she adds.

Crowl echoed Stewart’s sentiments and highlighted the unique bond they share despite their differing backgrounds. “There’s a generational and experiential divide, but it’s lovely how we connect and touch audiences in different ways,” she said.

Humor and Tension

What makes Prince Faggot unique is its ability to explore themes usually positioned on the fringes—such as kink and queer sexuality—using the royal family as an accessible metaphor. Stewart remarked, “The play humanizes complex experiences and challenges societal perceptions in a profound manner.”

The Monologues

Both Crowl and Stewart deliver significant monologues that contribute to the narrative’s emotional impact. Stewart’s piece is autobiographical, reflecting her complicated relationship with the royal narrative and personal identity. “If the royals are chosen by God, I’m chosen by God too,” she asserts, conveying her journey of self-acceptance.

Crowl approached her monologue—a narrative she embellishes for dramatic effect—drawing from her own experiences and those of her friends. “Even if the details aren’t literally true, they’re performatively true. I’ve learned to draw on my past to add depth to my performance,” she shared, appreciating the vulnerability and strength imbued in the women’s roles.

Photo: Marc J. Franklin

Crafting Royal Personas

As the actresses stepped into their respective roles, they embraced the challenge of crafting their individual interpretations of iconic figures. Crowl admitted to immersing herself in research about Kate Middleton to enrich her portrayal, focusing on authenticity rather than imitation. “It’s about creating a version of Kate that feels real and impactful,” she explained, playing with the tension between being a nurturing mother and the head of a traditional institution.

Stewart, on the other hand, approached Charlotte with her essence as a sister, focusing on dynamics of familial love and rivalry. “I’m a spare, but my family has their complexities. I leaned into that as a performer,” she said, contemplating what it means to navigate that space.

Physicality and Expression

The play’s physicality—especially in its intense scenes—adds another layer of depth to the characters. Crowl found inspiration in her own mother’s body language, channeling that into her portrayal of Kate. Stewart, however, grappled with how to showcase her connection to ballroom culture without being pigeonholed in performances. “My dance is a radical act of expression, an ownership of my identity,” she stated, leaning into ballroom as a means of defiance.

As Crowl and Stewart continue to break barriers on stage, they both share a vision of a future where talent is recognized without the shadow of identity politics. Crowl passionately expressed her hope: “We need to reach a point where the focus is simply on our abilities as performers.”

Conclusion

Prince Faggot transcends mere entertainment; it ignites critical conversations about identity, love, and societal norms. As Crowl and Stewart embrace their roles, their performances offer a glimpse into a world where authenticity reigns, challenging audiences to expand their perspectives. With its rich narrative and complex characters, the play is a vital part of the evolving discourse on representation and inclusivity in the arts.