Bowl EP and David Greenspan Among Obie Winners

Oghenero Gbaje and Essence Lotus in Bowl EP,
Obie Award winner for Best New Play.
Credit: Carol Rosegg

Bowl EP, Nazareth Hassan's play about two wanna-be rappers set in an empty swimming pool made into a skateboarding park, and performer-playwright David Greenspan were among the winners of the 69th annual Obie Awards, announced on NY-1 by Frank DiLella and Michael Urie on Jan. 31. Bowl EP was named Outstanding New Play and won for its three-person Ensemble Cast and Greenspan won two awards--for his performance as part of the ensemble of Prince Faggot and for the solo show I'm Assuming You Know David Greenspan. He previously won six Obies.

Originally presented by the Village Voice newspaper, the Obies are now presented by the American Theater Wing who also co-presents the Tonys. The Obies honor excellence in Off and Off-Off-Broadway theater. Instead of a ceremony, the Wing presents winners with cash grants totaling more than $250,000. A private reception for the winners will be held on Feb. 23. 

David Greenspan in I'm Assuming You Know
David Greenspan.
Credit: Ahron R. Foster

This year's judging panel comprised Stephanie Berry, Modesto "Flako" Jimenez, Jonathan McCrory, Santiago Orjuela-Laverde, Aya Ogawa, Barbara Samuels, and Whitney White, led by co-chairs Wilson Chin and Ryan J. Haddad. More than 300 productions were evaluated.

Off-B'way Review: Prince Faggot

John McCrea and Mihir Kumar in
Prince Faggot.
Credit: Marc J. Franklin

When Prince Harry of England married Meghan Markle, an African-American actress, in 2018, I was teaching high school. On the Monday morning after their royal wedding, I was sitting in the faculty lounge with a colleague, an older white woman. When I asked her what she thought of the monumental nuptials, she responded with anger and dismay over the presence of an African-American minister and a black gospel choir. I opined that it was Meghan’s wedding and she could have whatever or whoever she wanted there; the minister and the choir were reflecting her culture. My fellow educator just bristled with indignation that if it were Harry’s brother’s wedding, such a transgression would never be tolerated by his grandmother the Queen. I later realized that my co-worker was really fuming over the intrusion of black identity onto her lily-white ideal of the British royal family. 

N'yomi Allure Stewart and John McCrea
in Prince Faggot.
Credit: Marc J. Franklin

Jordan Tannahill goes several steps further with his imaginative and riveting fantasy Prince Faggot, now in a co-production from Playwrights Horizons and Soho Rep in PH’s intimate Peter Jay Sharp Theater. Starting off from the infamous photo of toddler Prince George striking what could be interpreted as a fey pose, Tannahill imagines a future where George has grown up to become the first (openly) gay heir to the throne. To add to the drama, his boyfriend and potential spouse Dev is a Brit of Indian descent with radical views on the monarchy. The provocative plot (and the even more provocative title) are used to explore what happens when racial, sexual, and gender barriers fall and queerness and otherness in general intrude onto traditionally majority-only spaces. My co-worker would have probably run screaming from the theater. The sex and language are explicit and realistic. Kudos to UnkleDave’s Fight-House, who usually coordinate onstage battles, but here are listed as intimacy coordinators and are responsible for a different kind of contact.

Tannahill adds another layer of meaning by having the cast of six—four gay men and two transgender women—directly address the audience as versions of themselves and explaining how the issues raised by the play have impacted them. In a program note, the author clarifies that two of monologues are based on the actors’ actual experience and the rest are fictional.