A Strange Loop, the captivating musical by Michael R Jackson, breaks the mold when it comes to philosophy lessons. The title itself is inspired by a cognitive science theory, and the show is a clever, camp, and moving exploration of the protagonist Usher’s troubled mind. Usher is trapped in both his unfulfilling job as an usher in a Broadway theatre and in his own thoughts. He attempts to write a musical about a black, gay man trying to write a musical about a black, gay man, but struggles due to the weight he places on his own identity. The irony is that he is actually performing in the very show he is trying to write. Though the concept may sound complex, A Strange Loop is a genuinely enjoyable experience, blending humor, anger, and raw emotion. The show, which won a Pulitzer Prize on Broadway, makes its UK premiere with a flawless production directed by Stephen Brackett and featuring the talented Kyle Ramar Freeman as Usher.
As Usher’s mind wanders from his monotonous job, his thoughts start to overwhelm him. He is bombarded by obnoxious figures that represent his insecurities and self-doubt. His devoutly religious mother calls to berate him about his sexuality, while his alcoholic father shares his homophobic views. His agent pushes him to work harder, and a chorus of industry voices mocks his efforts. They question why he can’t write about topics like slavery or police violence. On top of all this, Usher faces criticism from dating apps and a traumatic sexual encounter that shatters his self-worth.
Maintaining a meta concept like this is no easy feat, and the show does become convoluted at times. However, it is carried by sharp wit, impressive choreography by Raja Feather Kelly, a talented cast with remarkable versatility, and a musical score that seamlessly blends gospel and Tori Amos vibes. Freeman truly shines as Usher, effortlessly transitioning from tender lyrics to powerful gospel vocals. He brings warmth, vulnerability, and finally, strength to his tormented character.
Tambo & Bones, another politically charged metatheatrical production by American writer Dave Harris, also offers a thought-provoking exploration of art, race, capitalism, and the white gaze. Presented with humor and precision by director Matthew Xia, the play follows the characters Tambo and Bones as they navigate a minstrel show set, a world tour as famous rappers, and a future where their story is performed by robots. Harris skillfully makes the audience laugh while forcing them to confront their role in perpetuating stereotypes and commodifying pain.
The Pillowman, a thrilling revival of Martin McDonagh’s dark comedy, introduces us to Katurian, an author in a totalitarian state who finds herself trapped in a gruesome narrative. Two intimidating police officers interrogate her about her stories, suspecting they are symbolic of violent state oppression. The play delves into the power of fiction to suppress or articulate truth, all while shocking and baffling the audience. In this revival, directed by Matthew Dunster, Lily Allen portrays the only female character in a hostile, male-dominated environment. Allen’s performance captures both vulnerability and defiance, though she doesn’t fully explore the complexity of Katurian’s moral ambiguity.
Overall, this week of theater showcases innovative and thought-provoking productions that challenge and entertain. From A Strange Loop’s exploration of identity to Tambo & Bones’ examination of race and The Pillowman’s contemplation of fiction and truth, these shows deliver compelling narratives that leave a lasting impact.
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