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“A Strange Loop” has a circuitous concept: It is about a Black gay man named Usher who is writing a musical called “A Strange Loop” about a Black gay man trying to write a musical (even the ingenious set from Arnulfo Maldonado is actually a successively smaller series of loops). In making the lead character a fat, Black gay man, within an industry (and larger society) that prioritizes and idolizes skinny, white bodies, Jackson is making a Black gay man an embodiment of the universal.Īnd he’s also written one of the best, and the most groundbreaking, new musicals of the Broadway season.
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He’s also successfully testing the conceit of how the universal is rooted in the specific. But as I am writing this, it occurs to me that what Jackson does with “A Strange Loop” isn’t just write a musical with catchy tunes and clever lyrics. Jackson’s Pulitzer-winning musical, I even asked my editor, “Am I the best person to review this?” What insight can a heterosexual cis Asian woman provide about a musical dealing with, “What it’s like to live up here/And travel the world in a fat, Black queer body”? And it’s not just identity Jackson’s musical also criticizes Tyler Perry, the racist and meat-market mentality within gay dating apps and mediocre commercial theater (okay, I admit that last one I completely understand).Īnyway, because the review schedule was set, and Broadway News didn’t want to overload its critics, and because “A Strange Loop” has lived rent-free in my mind since I saw it off Broadway in 2019, here I am now.
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What can I say about “A Strange Loop” that hasn’t already been said? When I got the assignment to review Michael R.