A Strange Loop

A raw, authentic and distinctly personal piece of art, Michael R. Jackson's 'big black queer ass American Broadway show' is exactly that; as shocking as it is heartfelt, the result is a musical that wears its heart on its sleeve in a way that is nothing short of commendable.

'This is not a show for your maiden aunt' declares the programme, an apt warning for the Pulitzer Prize winning musical A Strange Loop, whose onstage explosion of sex, self-loathing and singing confronts the audience with no reservations or censorship. As a white, straight, British man, you would think that there was little connection to be found in the story of a black, gay, American man - yet this couldn't be further from the truth. The brilliance of A Strange Loop lies in truthfulness, making for a relatable show for some, and an enlightening experience for others. While the American aspect of the show doesn't translate perfectly across the Atlantic, making for a great deal of disconnect in its significant references to popular culture, the impact of this work is undeniable.

At first glance, Michael R. Jackson's score is of questionable quality; the lyrics 'how many minutes to the end of intermission, is this how the show should open, should there even be a show' aptly demontrate the often clunky lyrics that lack any subtlety. Yet there's a brilliant primitive nature to the music, an unrefined edge that aptly crafts a sense of the musical being somewhat unfinished; these songs are, after all, a look inside the mind of a 'writer who is struggling to write', and soon the repetitive, wordy and often daft sounding lyrical work makes complete sense, immersing the audience into Usher's indecisive and unconfident work. That's not to say the score isn't clever though. It takes brilliant skill to adapt the musical tone to reflect Usher's state of mind, and by the end of the show, Jackson has chance to flex his songwriting prowess as the show opens up into a touching display of unfiltered emotion.

This isn't the only way the show opens up however: one may be baffled upon walking into the auditorium to find the proscenium to be wide, yet very short. Through this, set designer Arnulfo Maldonaldo creates a clever sense of claustrophobia for much of the show and as Usher opens up to his audience, so does the proscenium creating an impressive visual metaphor and a rewarding sense of spectacle towards the close. The same can be said for the lighting by Jen Schriever, which creates a highly stylised, neon dreamscape that is as colourful as the show's flamboyant lead. This may not be the flashiest of shows, with its largely intimate staging and emphasis on introspection rather than dazzling visuals, however the show need not to be the latter - the chaos of Usher's mind is all the entertainment necessary.

Unfortunately, A Strange Loop is a show rooted in its American culture, and while this makes for a fascinating inspection of the intersectionality between the black experience and the American dream, this commentary fails to survive the journey across the Atlantic as succinctly as other elements of the show. This becomes most detrimental through the frequent - and narratively important - references to Tyler Perry, a black American writer and actor, throughout the show. While it remains possible to appreciate the criticisms of Perry's work made throughout the show (that his work is often derivative of black culture and presents a tainted 'white appealing' lens), the lack of familiarity creates a great level of distance between the audience and the conversations being held on stage. A Strange Loop being a particularly intimate and empathetic character study, this becomes particularly problematic when the emotional climax of the show comes in the form of a parody of Tyler Perry's work: the show strives to build a close connection with its audience and yet at its most pivotal point loses it due to the barrier of pop culture. One is left guessing and presuming why the scenes on stage are funny, satirical and bitter rather than actively feeling such emotions - a damaging blow to the close of what is otherwise an extremely emotionally involving show.

A Strange Loop is a show I admire: while it may have failed to connect with me entirely and elements of the show felt clunky in their metatextual nature, the craftmanship behind this musical earns all the praises that have been lauded towards it. Theatre is a space to explore the self and be open, and Jackson does this to the greatest extent, creating a work that is incredibly revealing and revels in the inevitable discomfort that it may cause. While this may not make for the most enjoyable and light viewing at the theatre, it remains a piece of great educational, personal and intellectual insight into the experience of a queer, black American man, and in that regard is a brilliant success.

A Strange Loop is running at the Barbican Centre until 9th September

https://strangeloopmusical.com

[Watched: 20/07/23]

Photography credit: Marc Brenner