Pride month has come and gone, but for many LGBTQ people Pride is—and should be—a 365 days a year celebration! Even with the forces of political darkness weighing down upon us, there are artistic forces continuing to lift our community up beyond the month of June. Huge thanks go out to the latter!
To illustrate this, Reverend highly recommends these new streaming productions and live, off-Broadway plays:
Prince Faggot (Now playing at Playwrights Horizons in NYC through August 3rd)
A provocative---and provocatively titled--world premiere written by Jordan Tannahill, who is making his NY debut as a playwright. It imagines the real-life Prince George of Wales, who is currently 11 years old, as an adult gay man struggling with both having a relationship and accepting his destiny as future king of the UK. Grown-up George is personified on stage by John McCrea, who originated the title role in the acclaimed London musical Everybody’s Talking about Jamie.
Other factual characters include Prince William, Duchess Kate and Princess Charlotte. Curiously absent is younger Prince Louis, which one of the players humorously notes. They intermingle with fictional characters, notably George’s lover (played by the captivating Mihir Kumar). Adding to Tannahill’s blending of the real and imaginary are periodic monologues delivered by the actors as themselves. The cast, most of whom play multiple roles, is excellent.
This unique dramatic approach is well-orchestrated by director Shayok Misha Chowdhury, even if some monologues and scenes run a bit long (the show runs 2 hours with no intermission). There are compelling, often graphic discussions and depictions of political intrigue, trans lives, BDSM, racial/ethnic discrimination, and finding modern meaning in the play’s title slur. The overall effect reminded me of Tony Kushner’s modern classic Angels in America, which is subtitled “a Gay Fantasia on National Themes” and similarly intermingles fictional and non-fictional characters. Prince Faggot could well be subtitled “a Gay Fantasia on British (even Global) Themes.” It is a timely, intriguing and important show.
Reverend’s Rating: A-
Beau: The Musical (Now playing at Theatre 154 in NYC through July 27th)
This heartfelt, engaging tale spans three-plus decades and centers on a young, gay aspiring singer named Ace (a very good Matt Rodin) who meets the grandfather he didn’t know existed. He subsequently learns his grandfather, Beau (Chris Blisset, suitably gruff yet endearing), is also gay but naturally from an era when homosexuality had to be kept in the closet. It doesn’t help that both Beau and Ace live in Tennessee.
Director-Choreographer Josh Rhodes’ production has a nice, organic feel to it. From the immersive set by Daniel Allen to Devario D. Simmons’ versatile costumes, Adam Honore’s lighting design to the cast’s affecting performances (the cast members double impressively as the show’s band), audience members feel a part of the environment and part of the action.
One can justifiably accuse the book by Douglas Lyons (Chicken and Biscuits) of being overly earnest, and the songs co-written by Lyons and Ethan D. Pakchar of being unmemorable though catchy and/or touching upon first listen. But the show will resonate with older gay or bi men, and maybe even younger men with southern roots.
Reverend’s Rating: B
Aichaku (Now streaming via Prime and Freevee)
I hadn’t heard of this charming gay-themed indie film before it popped up on my streaming recommendations list. I’m so glad I checked it out. Set in rural Japan, it features Christopher McCombs (who also wrote the perceptive screenplay) as Lucas, an English teacher from the US who is struggling to carve out a life there. He unwittingly begins to cross paths with Ken, a Japanese construction worker (played by hunky, soulful Christopher Nishizawa) who is trying to figure out his own path in life. They gradually fall into a tentative romance, with various locals as well as Lucas’s mother in the US providing equal parts opposition and encouragement.
Sensitively co-directed by previous TV collaborators Raito Nishizaka and Michael Williams, Aichaku offers a welcome international perspective as well as a more mature approach to first love between two men from very different backgrounds. It is certainly sexy at times, as well as disarmingly funny. Many of the laughs are generated by Yayoi Fujiwara and Kaori Takeshita as Lucas’s hosts. Search for it now!
Reverend’s Rating: A-
Lost Boys and Fairies (Now streaming via Prime and BritBox)
Best of all is this lovely, 3-episode BBC series from 2024 that is just now making its stateside debut. Created by Daf James and directed by James Kent, it tells the story of gay couple Gabriel and Andy (superbly played, respectively, by Sion Daniel Young and Fra Fee) who have been together for eight years and are eager to adopt a child. Andy is excited about the prospect of becoming a father whereas Gabriel, a drag performer, is hesitant. This is not only due to Gabriel’s past issues with drug addiction but also because of his unhappy childhood, which was marked by his mother's early death and his father's homophobia.
Although the couple initially sets out to adopt a girl, they meet and begin to grow fond of Jake (the adorable Leo Harris), who was placed in foster care after being removed from his own violent father. With the guidance of a sympathetic social worker and support from their chosen family, Andy and Gabriel’s dream of becoming parents starts to come true.
Be warned: The series features some devastatingly emotional moments as well as some truly hilarious situations. There are also fantastic musical numbers performed by Gabriel and additional cast members. Some viewers may find the tonal transitions jarring. Don’t let this scare you away! Watching Lost Boys and Faeries is ultimately a beautiful, hopeful experience…not unlike life itself.
Reverend’s Rating: A
All reviews by Rev. Chris Carpenter, resident film & theatre critic of Movie Dearest and Rage Monthly magazine. He is also a founding & voting member of GALECA: The Society of LGBTQ Critics (galeca.com).
Reviews by Rev. Chris Carpenter, resident film and stage critic of Movie Dearest and Rage Monthly Magazine
