In a world full of problems, Dylan Mulvaney insists that she isn’t one.
Immersed in a world of pink glitter, absurdity, and taboo, Mulvaney’s one-woman spectacle, “The Least Problematic Woman in the World,” is one of the most arousing and entertaining shows off-Broadway, following Mulvaney on her journey to womanhood, from the heights and perils of youth to her social media stardom as a transgender icon.
At the show’s first preview, Mulvaney promenaded into the audience wearing white feathered wings and an angelic outfit. Prior to the performance, she mingled with fans, conversing and taking photos. The performance was nothing short of spectacular, especially for a first preview. The production was seamless from the transfer of props to the digital components of the show, which humorously developed the plot. The performance seemed to have been executed without any hiccups (though the audience seldom knows when little things go awry): a truly remarkable opening for an utterly enthralling play.
Filled with pop culture references, witty dialogue, and delightful physical comedy, the play gives us a glimpse into Mulvaney’s world behind the screen by detailing, with absurdity and wistfulness, how she became the woman she is today. Even as Mulvaney discusses the strife involved in her journey to womanhood, she saunters around the stage and keeps the audience extremely amused. Her infectious joy brightens the entire theater, transporting the audience to a space without worry of judgment and scrutiny, a skill honed, Mulvaney explains, by her social media career.
The show isn’t all rainbows, however, as the second act reflects a world drenched in controversy and anguish. Nevertheless, like Mulvaney herself, the show snaps back into a state of positivity by the finale.
With her one-woman show, an exceptionally fun time at the theater, Mulvaney has created a farce tackling both self-discovery and social issues. From singing about being a “palatable” queer influencer as she throws tampons labeled “trans-palatability” into the audience to acting out a multi-character scene as both herself as a young boy and her conservative mother, Mulvaney keeps the audience on its toes, never losing steam from song to scene. For a significant portion of the show, Mulvaney is on “Twink,” a humorously titled prescription that perpetuates her identity as a gay boy. Similar euphemisms and metaphors are used throughout the show to describe Mulvaney’s gender exploration. About halfway through, she boards a train that takes her through the gender spectrum, where she ultimately gets off at the “She/They Station.” In such a clever fashion, the show places the audience right next to Mulvaney, taking us on her psychological journey.
While “The Least Problematic Woman in the World” is a one-woman show, there are voice cameos by Alan Cumming and Chris Colfer, who play a homophobic priest and one of Mulvaney’s co-workers at Lush Cosmetics, respectively. These “appearances” add to the hilarity of the show while accentuating Mulvaney’s engrossing presence as the show’s sole performer. Bouncing between roles, from a newscaster to a friend’s mom, Mulvaney’s talents are on full display. Directed by Tim Jackson, “The Least Problematic Woman in the World” is filled with vibrant scenery, energetic dance numbers, and a whole lot of Dylan Mulvaney, who holds her own in her off-Broadway debut. Tickets for “The Least Problematic Woman in the World” are available through Oct. 19 at the Lucille Lortel Theatre in New York City’s West Village.
Kendra Williams can be reached at kwilliams05@wesleyan.edu.
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