Like Jackie Sibblies-Drury does in Fairview, Michael R. Jackson inverts audience expectations and conventions with his autobiographical musical A Strange Loop at Playwrights Horizons. While Sibblies-Drury mercilessly probes cultural and racial biases, Jackson turns the glaring spotlight on himself, an African-American, plus-sized gay man, a demographic usually relegated to comic relief supporting roles, particularly in tuners.
The protagonist Usher (a dynamically funny and intense Larry Owens), battles with his unruly thoughts (embodied by a sharp and versatile ensemble of six) as well as a racist, body-shaming culture as he struggles to complete his musical theater piece, an autobiographical work called A Strange Loop about a heavy-set, black gay man named Usher. The title refers to the scientific phenomenon of self-referential systems which repeat endlessly. It’s also the title of a Liz Phair album, one of Usher’s favorite “white girl” singers. The piece abounds with similar ironic references. Usher not only has the same name as a famous pop star (like the author), but his day job is serving as an usher at The Lion King, and his family members all have the same names as the royal feline clan in the Disney smash hit.
A Strange Loop asks as many hard and fidget-inducing questions as Fairview and, for the most part, Jackson achieves the perfect balance between hilarious satire and probing self-examination. For the first three-quarters of the show’s intermissionless running time, riotous comedy sequences mix with bitingly truthful dramatic moments. A cute meeting with a potential boyfriend in the subway turns into a cruel fantasy. A devastating parody of Tyler Perry’s mawkish movies (stunningly performed by Owens) is followed by an unforgiving family portrait. Historic figures such as Harriet Tubman, James Baldwin, and Zora Neal Hurston chide Usher for not being the right kind of “n” word.
But in the final vignettes when Usher confronts his tradition-bound parents on their homophobia, his points are made and then repeated too many times, culminating in a bold but repetitive gospel parody with the refrain “AIDS Is God’s Punishment.” After the initial shock wears off, Jackson lets the outrageous number, expressing his anger at being rejected by his community’s church, outstay its welcome.
Despite these flaws, Loop is a powerful and startlingly fresh work directed with pace and punch by Stephen Brackett featuring a screamingly funny and insightful book and score by Jackson, a daring and noteworthy new talent.
