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A Strange Loop really is uncompromising.” “‘Uncompromising’ is typically a lazy adjective applied to cultural works with hot-button themes, and some neatly placed dirt under characters’ fingernails. Stephen Brackett, the show’s director, has crafted a scaled-up version of what those who fortunate to have seen the show in 2019 may remember Arnulfo Maldonado’s sleek, illuminated set features little doorways and corridors out of which pop his innermost thoughts and extremely opinionated inner demons, played (with great humor and in great voice, and with great moves choreographed by Raja Feather Kelly) by Antwayn Hopper, James Jackson Jr., L Morgan Lee, John-Michael Lyles, John-Andrew Morrison, and Jason Veasey. Du Bois’ idea of “double consciousness” to describe the uniquely African-American experience of “always looking at one’s self through the eyes of others, of measuring one’s soul by the tape of a world that looks on in amused contempt or pity.” When we spoke Jackson also invoked W.E.B.
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(Jackson has written a musical inspired by them, White Girl in Danger.)
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I changed the title.” There is a brilliant song about the guilty pleasure Usher takes in the behavior and power-wielding of the “white girls” he and Jackson are fascinated by. I hadn’t realized I had been writing about the theory the whole time. Then he read about Hofstadter’s theory, “which was weird. “Strange Loop” is also the title of a song by Liz Phair (whose music Jackson has long loved, he told me in 2019, particularly the 1993 album Exile in Guyville), and for a time-when the musical was first called Fast Food Town-Jackson had been trying to get permission to use her songs in the play. He further theorized that a human being is the organism with the greatest capacity to perceive itself perceiving itself, ad infinitum.” The “strange loop” of the title, as Jackson explained in his off-Broadway program note, was created by cognitive scientist Douglas Hofstadter to “theorize the self as merely a collection of meaningless symbols mirroring back on their own essences in repetition until death. it also features the best, most show-stopping reincarnation of a celebrity ever.Īs the musical goes on, we are aware that Usher feels eternally, grindingly trapped. Jackson, whom The Daily Beast interviewed in July 2019 when the musical was playing off-Broadway at Playwrights Horizons, are channeled through Jaquel Spivey who has taken on the role as lead character Usher, wanting “to show what/It’s like to live up here/And travel the world in a/Fat, Black queer body.” For around 100 minutes an audience watches as Usher questions everything around him: racism, sexuality, family, coming out, success, his body, attractiveness, ambition, religion, and trauma (and I’ve probably forgotten something so let’s just amend that to *everything*).Īnd besides the extremely moving, searing stuff. Saturday Night, hopefully says something about what an evolving ecology of Broadway can look like. The fact this reporter saw this one night, and the next day Billy Crystal in Mr. Part of the joy of watching the Pulitzer Prize-winning A Strange Loop on Broadway is precisely because of where we are sitting and what we are watching: this show, about the life and thoughts of a creative, questioning young queer Black man, is being performed right here right now (at the Lyceum Theatre, booking to September 4) in front of a Broadway audience.