NEW YORK — In a bold new satirical play titled “Prosperous Fools,” acclaimed playwright Taylor Mac takes aim at the complexities of cultural philanthropy. Although Mac isn’t overtly trying to criticize the benefactors who support the creative arts, the play provides a platform for deep reflection on the nature of generosity in what it describes as a “feudal” society. Set during a gala for a nonprofit dance company, the production humorously explores the ethical dilemmas surrounding philanthropic contributions. The story revolves around a flamboyant benefactor who spirals into madness as he tries, and fails, to assert his creativity, thereby realizing the choreographer’s deepest fear of striking a deal with everything his art stands against. Directed by Darko Tresnjak, “Prosperous Fools” will run through June 29 at Brooklyn’s Polonsky Shakespeare Center.
“I’m simply trying to provoke a different perspective on the world,” shared Mac, whose preferred pronoun is “judy.” The playwright hopes that philanthropists will see their contributions as interim solutions rather than definitive answers to societal issues. Mac remarked, “Ideally, these gestures are temporary fixes until we’ve established a government that’s truly for the people.”
Despite its contemporary relevance, the play isn’t rooted in the present day and challenges perceptions of modern-day philanthropy, casting a donor eerily similar to figures in today’s social and political landscape. He is introduced on a fire-breathing bald eagle, wearing attire reminiscent of tech moguls and political influencers. The screenplay doesn’t position itself as a comment on specific recent events, such as former President Donald Trump’s administration and its associates, but rather on broader themes of philanthropic influence over cultural institutions.
Drawing from a 30-year career, Mac infuses the script with personal insight into uneven power dynamics within philanthropy, an arena observed both as a cater-waiter and as a celebrated artist. The protagonist’s frustration with benefactors who are more self-serving than altruistic is palpable when the character laments, “Why couldn’t I have a good oligarch?” and “I should have stayed in the artistic integrity of obscurity.”
Although Mac’s acclaim blossomed with works like “A 24-Decade History of Popular Music” and the Tony-nominated “Gary: A Sequel to Titus Andronicus,” “Prosperous Fools” was penned over a decade ago before much of this recognition. Initially inspired by a translation of Molière’s “Le Bourgeois Gentilhomme,” the play diverges from its source material, opting instead to critique the system that prioritizes culture for the affluent’s benefit. The project, delayed for years, faced shrinking budget restraints and industry hesitance toward its “queer” style, reflecting the predominant “heteronormative” standards of theater.
Mac acknowledges the play’s biting humor may challenge traditional expectations, especially for donors accustomed to being extolled rather than critiqued. However, Mac clarifies that the intention is not to offend but to contemplate together about a more equitable path forward. The theatrical piece adopts slapstick comedy to engage with its intellectual themes, from satirical depictions of philantrocapitalism to jesting reinterpretations of famous cultural icons.
For audiences, a unique twist arises as the play ends not with actors’ bows but with a provocative epilogue, emphasizing the playwright’s critique of the global philanthropy system. Through this choice, Mac invites viewers to reflect on whether donations stand as genuine altruism or merely mask wealth inequity, particularly as the Theatre for a New Audience season garners sponsorship from prominent financial entities.
The impact on these sponsors, however, remains unclear. “No one’s spoken to me,” Mac commented, indicating that neither sponsor has directly engaged with the play’s themes. Whether such financial backers are moved to consider the challenging questions the play poses is a conversation yet to unfold.