The Reluctant Prince: Why Harold Washington’s Story Still Matters
There’s something undeniably captivating about a leader who never sought the crown but ended up wearing it anyway. That’s the essence of Prince Hal, a new play by J. Nicole Brooks coming to Chicago’s Lookingglass Theatre in 2027. Personally, I think this isn’t just another historical drama—it’s a mirror held up to our own political moment. Harold Washington, Chicago’s first Black mayor, was a man thrust into a role he didn’t actively pursue, yet his legacy reshaped the city. What makes this particularly fascinating is how Brooks frames him as a modern-day ‘Prince Hal,’ drawing parallels to Shakespeare’s reluctant heir in Henry IV. It’s a clever riff, but it’s also a reminder that leadership often finds us, not the other way around.
A Mayor Born in a Tavern? The Genius of Everyday Politics
One thing that immediately stands out is the play’s setting: a West Loop tavern where Washington finds his base of support. This isn’t just a quirky plot device—it’s a powerful statement about where real political change begins. From my perspective, this detail underscores something many people overlook: politics isn’t just about boardrooms and campaign rallies; it’s about conversations in local bars, kitchens, and street corners. Washington’s rise was fueled by the everyday Chicagoans who saw themselves in him. If you take a step back and think about it, this is a story about the power of grassroots movements, something we’ve seen echoed in recent years, from Bernie Sanders to local activists fighting for change.
Why Harold Washington’s Legacy Still Divides Chicago
What many people don’t realize is that Washington’s tenure was as much about division as it was about unity. His election in 1983 was a seismic shift, but it also exposed deep racial and political fault lines in the city. In my opinion, this is where the play could really shine—by exploring the complexities of his leadership. Was he a unifier or a polarizing figure? The truth, as always, is somewhere in between. What this really suggests is that progress often comes at a cost, and Washington’s story is a case study in the challenges of breaking barriers.
The Broader Trend: Why We’re Still Obsessed with Political Biopics
Prince Hal is part of a larger trend in theater and media: the fascination with political biopics. From Hamilton to The Crown, we’re drawn to stories of leaders who shape history. But what makes Washington’s story unique is its local flavor. This isn’t a tale of Washington D.C. or global power players—it’s about Chicago, a city with its own distinct identity. A detail that I find especially interesting is how Brooks, a Chicago native, is crafting a trilogy about the city’s mayors. It’s a love letter to the city, but also a critique of its politics.
Lookingglass Theatre’s Bold Move: Why 2027 Matters
Scheduling this play for 2027 is no accident. By then, we’ll be deep into a new political era, and Washington’s story will feel both nostalgic and prophetic. Personally, I think this is a smart move by Lookingglass. They’re not just staging a play; they’re sparking a conversation about leadership, race, and power. And let’s not forget Mary Zimmerman’s adaptation of The Yearling—a completely different beast, but equally ambitious. What this really suggests is that Lookingglass is doubling down on its role as a cultural provocateur.
The Hidden Implication: Are We Ready for Honest Political Stories?
Here’s the deeper question: Are we ready to confront the messy, complicated truths about our leaders? Washington wasn’t a saint, and his administration had its flaws. But his story is a reminder that progress is rarely linear. In my opinion, this is where theater excels—it forces us to sit with uncomfortable questions. If Prince Hal does its job, it won’t just entertain; it’ll challenge us to think about the kind of leaders we want and the kind of communities we’re building.
Final Thoughts: Why This Play Could Be a Game-Changer
As someone who’s watched Chicago’s theater scene evolve, I’m betting Prince Hal will be more than just a play—it’ll be a cultural event. It’s not just about Harold Washington; it’s about us. What makes this particularly fascinating is how it blends history, Shakespeare, and contemporary politics into something entirely new. If you take a step back and think about it, this is exactly what theater should do: hold a mirror to society and ask, ‘Who are we? And who do we want to be?’
