In A Letter to Lyndon B. Johnson or God: Whoever Reads This First, playwright-directors Natasha Roland and Xhloe Rice blur the line between 1960s Boy Scout rituals and the drafting of U.S. soldiers to Vietnam. What emerges is an absurdist meditation on masculinity, obedience, and the perilous passage to manhood.
Jordan Tannahill’s drama Prince Faggot, a love story about a gay heir to the British throne and his boyfriend, is admirably multifaceted: part fantasia, part social and political commentary, part agitprop. At heart, though, Prince Faggot is a bittersweet romance about a royal and a commoner, a sort of Roman Holiday for the 21st century—if Audrey Hepburn’s princess had become a devotee of drug-assisted intercourse and Japanese rope bondage.
The first thing to know about Out of the Box Theatrics’ Beau the Musical is that it’s mostly not about Beau. He’s an important supporting character in the show by Douglas Lyons (book, music and lyrics) and Ethan D. Pakchar (music), but Ace Baker (Matt Rodin) is very much the star. He narrates, plays the guitar, and sings practically every song. The next thing to know about Beau is, you have to stick with it. At first it feels pat, clichéd, and straight off the gay-pride-musical assembly line. Then, finally, Lyons’s characters acquire some individuality and become more interesting.
At the Barricades, a play drawn from original sources by James Clements and Sam Hood Adrian, explores the price of freedom and the complexities of political idealism. The play highlights the fight of the Abraham Lincoln Brigade, a battalion of international volunteers numbering roughly 2,800 Americans who fought on the side of the Republicans (the democratically elected government) during the Spanish Civil War (1936–39) against the Nationalists, the rising fascist dictatorship under Generalissimo Francisco Franco.
In political parlance, the term A Special Relationship refers to the longstanding alliance of America and its “closest ally” Britain (the phrase “America’s oldest ally” refers to France). Disparities in language are a prominent feature in Tim Marriott and Jeff Stolzer’s winsome comedy, which is playing as part of the Brits Off Broadway festival. The piece takes as a major theme George Bernard Shaw’s maxim (sometimes attributed to Winston Churchill or Oscar Wilde): “England and America are two countries divided by a common language.”
Jordan Tannahill’s drama Prince Faggot, a love story about a gay heir to the British throne and his boyfriend, is admirably multifaceted: part fantasia, part social and political commentary, part agitprop. At heart, though, Prince Faggot is a bittersweet romance about a royal and a commoner, a sort of Roman Holiday for the 21st century—if Audrey Hepburn’s princess had become a devotee of drug-assisted intercourse and Japanese rope bondage.
