NEW YORK, NY – Taylor Mac, the acclaimed recipient of a MacArthur “genius grant,” is challenging audiences with a new theatrical work, “Prosperous Fools.” Staged at Brooklyn’s Polonsky Shakespeare Center, the play offers a biting satirical look at cultural philanthropy and is scheduled to run through June 29.
Anatomy of the Satire
Set against the backdrop of a gala hosted by a not-for-profit dance company, “Prosperous Fools” dives into the complex and often uncomfortable questions surrounding the moral value of philanthropy in a society the comedy starkly describes as “feudal.” The narrative centers on the power dynamics inherent in charitable giving, particularly when significant wealth is involved.
A key plot point involves a wealthy patron, depicted as boorish, who descends into madness as he attempts to exert his will and wield creative capital that he inherently lacks. This character arc serves to confirm the deep-seated fears of the play’s choreographer, who grapples with the ethical implications of potentially selling out their artistic vision to a figure characterized as a “sleazy oligarch.”
Artist’s Intent and Perspective
Taylor Mac, who uses the gender pronoun “judy,” has articulated a clear intent behind “Prosperous Fools.” Speaking about the play’s pointed critique, Mac stated that the goal is not to cause personal offense but rather to encourage audiences to think differently about the world and the systems in place. Mac expressed a desire for philanthropists to reconsider their contributions, viewing them less as assertions of control based on wealth and more as temporary solutions aimed at fostering a functional government.
This perspective highlights a core tension explored in the play: the perceived assertion of power and influence that can accompany large-scale charitable donations, and whether such giving truly serves the broader societal good or merely reinforces existing power structures.
Contemporary Echoes and Broader Critique
“Prosperous Fools” incorporates striking imagery that appears to draw parallels with contemporary public figures. One notable example includes a donor character making an entrance atop a fire-breathing bald eagle, wearing attire that bears resemblance to that often associated with Elon Musk. Later in the play, the same character is seen wearing a red tie, a sartorial choice popular in what is often referred to as “MAGA world.”
Despite these seemingly specific allusions, Mac has clarified that the play is not solely a commentary on recent events or the administration of President Donald Trump. Instead, Mac emphasizes that “Prosperous Fools” reflects broader, long-standing frustrations with the power dynamics inherent in philanthropy that Mac has observed and critiqued over a 30-year career. The contemporary imagery serves as a relatable entry point for the audience into these enduring issues.
Concluding Thoughts on Philanthrocapitalism
The production concludes with an epilogue delivered by the artist. This final segment, presented in rhyming couplets, acts as a potent summary and serves as a last critique of what the play identifies as “philanthrocapitalism” – a term often used to describe the application of business principles and market logic to philanthropic endeavors, sometimes raising questions about accountability and motivations.
“Prosperous Fools” offers a sharp, unvarnished look at the intersection of wealth, power, and artistic integrity. Through its satirical lens, Taylor Mac prompts essential dialogue about the role and impact of large-scale giving in modern society. The play continues its run at the Polonsky Shakespeare Center in Brooklyn until its closing on June 29.
