a strange loop @ the barbican
This show has been hearing all the buzz, in London, New York and virally everywhere, was nominated for 11 Tony awards and the winner of the rare gem that is the Pulitzer Prize for Drama; A Strange Loop!
The ground-breaking musical that won every ‘Best New Musical’ award on Broadway, takes over London with a limited run at the prestigious Barbican. Once again, I picked up my notebook and got myself to the theatre on a gorgeous TodayTix deal :)
Book, Music and Lyrics: Michael R. Jackson, Director: Stephen Brackett, Choreographer: Raja Feather Kelly, Music Director: Rona Siddiqui
In a nutshell, this highly anticipated show follows our protagonist, Usher, and is representing what it’s like to ‘travel the world in a fat, black, queer body’. The multi-talented, creative brain behind the show is Michael R. Jackson who, just like Usher, shares the name of another influential and extremely popular figure, causing the constant tendency for comparison and fear of overshadowing. A Strange Loop is about a black, queer man writing a musical about a black, queer man writing a musical and so on…
The title of the show is a reference to the homonymous scientific term that goes through a plethora of levels in a hierarchical system; a tangled hierarchy moves only upwards or downwards and eventually finds itself back where it started, creating a loop.
What I found the most special about this show was the level of exposure and vulnerability it so successfully portrays. The balance between sensitive and taboo subjects with educational entertainment is absolutely spot-on, raising awareness in all appropriate ways. It is with such bravery that an all-black and queer cast addresses century-long minority issues to a predominantly white audience. Unfortunately, statistics have shown that attending the theatre in both the West End and Broadway is not as diverse and inclusive as we’d like it to be; with ticket prices being through the roof and theatre visits being stereotypically considered ‘a privilege’, a big percentage of theatre audiences are not people of colour and/or working class. Perhaps, that is exactly why this show was needed; to really face the problem and speak up for everything that needs change.
The show opens with the intelligence and brilliance of the ‘Intermission Song’. We get introduced to Usher and his thoughts, played by 6 actors who match different themes and patterns throughout Usher’s life. Usher works as a Disney usher for Lion King (another show that heavily showcases black artists) on Broadway. Throughout the show, Usher wishes he could act more like his ‘inner white girl’, who is apparently free to do anything she pleases. Furthermore, Truvada prescription (HIV/AIDS) is mentioned a lot within the context of the show, assuming its inevitability for the queer community. So much rejection and misery is bombarding Usher via his own thoughts, pressuring him to project his ‘unapologetic blackness’ with self-doubt and overwhelm.
Some constructive criticism in my theatre-goer’s experience would be on the choreography. Although Kelly’s vision shines through and there is a lot of choreographic innovation to work with, the cast members are primarily incredible singers who have a good understanding of dancing and it shows. I think that the result would be even greater if the kinesiology underwent more attention to detail and cleanliness. At times, the show was a bit confusing jumping between reality and fantasy; more intense lighting changes or distinct costuming would help to clearly identify which moments are real and which are fragments of Usher’s imagination.
There are a lot of references to family and religion and I love that Usher’s thoughts are genderless and convey such dark topics without the feminine/masculine binary. Racism, homophobia and abuse (physical and emotional) are damaging Usher’s self-esteem and to put it simply, it’s tragically heartbreaking. His body dysmorphia and obesity are shown almost as a requirement for depression, something that is so rarely talked about in men’s mental health.
There are some beautiful details in the lighting design (pride colours) and its psychology on shade, colour and exposure. The costumes express different characters depending on sexuality embracement and religion, it’s all in the details!
It tackles everything that you want to escape from and is revolutionising the performing arts industry. It’s proof that musical theatre doesn’t have to be happy and cheerful 24/7 to be ‘worthy’. On the contrary, it can be raw and messy and meaningful and heartfelt, offering you influence way beyond the curtain call.
The end of the show is literally a strange loop; no clear ending, no conclusion but simply a hope for a better, yet unknown, tomorrow. Nothing is accidental in this triumphant protest in musical theatre history.
This story is solely told through Usher’s lens, and what a beautiful, black, queer lens that is…
