Jordan Tannahill has ignited Off-Broadway with his latest play, Prince Faggot, a bold, genre-bending fantasia that’s not just making waves—it’s making headlines.
The show imagines a fictional Prince of England coming out as queer, navigating identity, monarchy, and modern masculinity under the sharp glare of the public eye.
Critics aren’t just impressed—they’re enraptured.
The New York Times named it a “Critic’s Pick,” with Jesse Green raving that the play “aims to shock” but surprises instead with just how “good it is anyway.”
The Wrap called it “one of the year’s best new plays,” describing it as a “wild royal family portrait” and applauding its emotional depth beneath the glitter and subversion.
New York Theatre Guide praised it as a “thought-provoking examination of queerness within the Royal Family,” highlighting its ability to balance spectacle with sincerity.
Meanwhile, Front Row Center gave the show a glowing five-star review, with critic Tulis McCall calling it “a dense tapestry of wonder, imagination, sexuality, humor and stinging observation.”
Related: Brandon Flynn & Jordan Tannahill Got Married – In Leather!
Tannahill has long been a boundary-pushing voice in queer theatre, but this latest production feels like a defining moment.
With co-production support from Playwrights Horizons and Soho Rep, Prince Faggot is not only resonating with critics—it’s striking an emotional chord with audiences eager for fearless, high-caliber queer storytelling.
Off stage, Tannahill’s personal life is just as inspiring.
He married actor Brandon Flynn in October 2024, forming one of the queer creative world’s most compelling power couples.
Flynn, known for his breakout roles in 13 Reasons Why and Hellraiser, has been a vocal supporter of Tannahill’s work and was seen celebrating opening night alongside him.
Their partnership brings added depth to the play’s themes of visibility, vulnerability, and love in the spotlight.
Jordan Tannahill has always infused his work with elements of autobiography, activism, and art-as-intervention, but Prince Faggot may be his most emotionally layered and culturally resonant piece yet.
While the title may raise eyebrows, the storytelling elevates expectations, proving that radical queer theatre can be both provocative and profoundly moving.
With standing ovations, glowing reviews, and a clear cultural moment underway, Prince Faggot is not just a hit—it’s a triumph.
And at its center stands Tannahill, a playwright in love, on fire, and entirely in his element.
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