Zoom in past the Popeyes, Tyler Perry plays, and The Color Purple lyrics. Pan across the church pews and teenage boy blues of a “lifestyle” that turns you away from a relationship with God. Focus in on a journey of self love and acceptance. But, don’t look past the rejection and shame of a boy coming of age. Somewhere in the middle of that, you’re in a strange loop.
As part of “New Musicals at 54,” Michael R. Jackson’s A Strange Loop was performed at Feinstein’s 54 Below on April 27, 2016. We had the pleasure of being in the audience.
First thing’s first, this show is hilarious. I found myself laughing and crying at the same time over the soaring harmonies. Specifically, the show chronicles the life of “Usher”, a Black, gay musical theater writer who works as an usher in the back of the house at a long-running Broadway show. This show serves as the literal and metaphorical backdrop for the war he wages against the thoughts in his own head… while struggling to write a self-referential musical called A Strange Loop.
Jackson meets us at the coffee table in our aunts house. In our first apartment. At our day jobs. In our first relationships. He tells a deeply introspective story of finding love and redemption, while navigating our formative years.
Perhaps what I enjoyed most about the night, other than the SAAANGIN’ happening on that stage, was the relatable story. Michael R. Jackson wrote this show for us. Proud, emotive, intelligent, BLACK PEOPLE.
That was his goal.
We found Michael after the show. Overjoyed and filled with love, he said:
I love Black people and I love Black culture and, because I love being black, I also have notes and critiques. We don’t talk about it (homophobia, self love, mental health) as much as we should. If we talk about it more we could have some reconciliation. I wanted to go there assuming Black people would be there and would participate. I want black folks in the room.
Well, I looked around and WE were there nodding our head in unison, clapping our hands in praise.
We relate to the warmth, love, spirituality and, conversely the hate, judgement, and wrath of the Black church. We’ve been on the phone explaining our latest creative endeavors (or lack thereof) to family that doesn’t quite understand. We’ve dealt with blatant racism and homophobia.
The air was heavy with the pride and beauty of knowing and accepting who we really are. As I sit here writing this, I’m still in awe.
I felt so in tune and invested in the story of “Darryl.” Although every note of his story was not in the range of experiences in my life, I knew the songs and I knew the book, in all of its sharp, smart, qwerky, glory.
I asked Jackson what he wants audiences to get from the show and the message was simple: “We are the change that we have been looking for.”
He continued:
I wrote this show with Black eyes and audiences in mind. It isn’t that white eyes can’t watch it, but I wrote it as if the audience was only going to be filled with Black people. I wanted to create that space and experience, because in the business of this, we’re constantly worried about what white people think and it doesn’t have to be our primary concern.
A long contributor to conversations about diversity in theatre, Jackson shows us we can tell our own stories.
Fifteen gay Black men took the stage harmoniously molding the story of one gay Black man with equal parts vulnerability, wit, and rage. And with their help, he told his story.
He wrote this for us, so now it’s our duty to come.
A Strange Loop was developed with the support of Musical Theatre Factory and features Carl Ryan Clemons-Hopkins, Derrick Cobey, Elijah Caldwell, Nathan Lee Graham, Larry Hamilton, Darius Anthony Harper, James Jackson, John-Andrew Morrison, Larry Owens, Cartreze Tucker, Jamaal Clark Turpin, Jason Veasey, and Reggie D. White. Adam Wiggins is the musical director.
