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Usher, as though filling out his own Grindr profile, describes his protagonist as “a young overweight-to-obese homosexual and/or gay and/or queer, cisgender male, able-bodied university-and-graduate-school educated, musical theater writing, Disney ushering, broke-ass middle-class politically homeless normie leftist Black American descendant of slaves who thinks he’s probably a vers bottom.”
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Or perhaps an autobiographical funhouse (of the kind that Adrienne Kennedy created in her landmark play “Funnyhouse of a Negro”) would serve as a better metaphor. This musical, which is the one we’re watching, is indeed a hall of mirrors. What’s this long-aborning show that he’s been torturing himself about? “Well,” Usher reluctantly explains, “it’s about a Black, gay man writing a musical about a Black, gay man who’s writing a musical about a Black, gay man who’s writing a musical about a Black, gay man, etc.” He jokes that he can’t afford tickets to “Hamilton.” And his agent is proposing that he take a job as ghostwriter for one of Tyler Perry’s gospel shows, a career move that would go against everything he’s trying to achieve as an artist. His parents are questioning the point of his expensive education. Like Jonathan Larson’s surrogate in “Tick, Tick … Boom!,” Usher is in a desperate quest to write an original musical that will rescue him from poverty, obscurity and a looming sense of failure. Usher’s name is also his job description: When we first meet him, he’s dressed in a red uniform and getting Broadway theatergoers into their seats for Act 2 of “The Lion King.” “A Strange Loop” kaleidoscopically captures the struggle of a young artist named Usher (Jaquel Spivey in a titanic performance) who, like Jackson, is a musical theater scribe with an NYU pedigree. Jackson’s Pulitzer Prize-winning musical that probes the inner reality of a 26-year-old Black, queer artist who’s trying against the odds to transform his alienation into art.įor much of this triumphant, emotionally lacerating show, which had its official opening Tuesday at the Lyceum Theatre, I sat with my mouth agape, astonished and grateful that something so brutally honest and rigorously constructed had finally broken through to a Broadway stage. I never thought I’d see anything on Broadway quite like “A Strange Loop,” Michael R.