“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.
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. What can I say about “A Strange Loop” that hasn’t already been said? When I got the assignment to review Michael R.