The trans woman who sparked the Budweiser boycott is back… and she ain’t drinking beer!

In a world perpetually navigating the complexities of gender identity, Dylan Mulvaney continues to shine brightly, casting her life story through the lens of musical comedy. The 27-year-old performer has transitioned from the realm of social media to the stage of the Edinburgh Fringe.

Mulvaney’s meteoric rise took flight during the COVID-19 lockdowns, with her TikTok presence captivating a massive following. Her unvarnished discussions on transgender identity caught the eye of President Joe Biden, propelling her to the forefront as one of America’s most prominent transgender women. Despite her ascent, the journey was not devoid of turbulence. A partnership with Bud Light incited significant backlash and a boycott of what was a favourite beer in the US.

A year on, Mulvaney has distilled these experiences into her new musical comedy, “Faghag,” presented in Edinburgh. This theatrical production is an odyssey through her life, from a childhood shrouded in gender dysphoria, navigating a youth marked by the identity of a “twink”, to her current status, teetering between widespread acclaim and controversy.

Mulvaney, no stranger to the stage, harnesses her experience from starring in the celebrated “The Book of Mormon” in the United States, delivering an impressive performance in “Faghag.” The show seamlessly blends comedic moments with profound emotional storytelling.

Among the most captivating elements of the show is Mulvaney’s detailed account of navigating public scrutiny, transitioning into a more rally-like atmosphere while maintaining entertainment in earlier acts. The San Diego native meticulously depicts the duality of being simultaneously lauded and criticized, alongside the exploitation and rejection by corporate and celebrity spheres.

Bathed in a lavish Barbie-pink theme, Mulvaney’s narrative traverses church confrontations, interactions with a traditionalist mother, and a notably dramatic scene during her tenure at a Lush store, interspersed with her early, awkward encounters with a straight boy.

The performance’s depth is further enriched by voiceovers from Simon Callow, portraying God, and performance artist Alok, embodying additional characters. Mulvaney herself morphs into various roles, from newsreaders to chat show hosts, all projected on a raised screen to enhance the multimedia experience.

“Faghag” critically dissects mainstream America’s conditional acceptance of transgender identities, underscoring that such acceptance often hinges on the comfort levels of the mainstream audience. A poignant, tearful song near the show’s end encapsulates Mulvaney’s struggle with her sudden elevation to a gender icon. She swiftly shifts the narrative to broader societal critiques, addressing “late-stage capitalism and misogyny” in a concluding singalong celebrating her multifaceted gender identity.

For Mulvaney, this production signifies more than mere limelight—it is a reclaiming of her narrative and a jubilant acknowledgment of her arduous journey.