A Strange (but Good) Show | "A Strange Loop" @ CTG/Ahmanson

[cahwyguy]

Back when I was in college, an interesting tome was circulating in the UCLA Computer Club: Gödel, Escher, Bach, by Douglas Hofstader. In this book, through these three individuals, Hofstadter explored self-reference, mathematics, music, and what would be come to be known as Artificial Intelligence. The book won the Pulitzer, but most folks (including me) read it once or twice, and put it up on the shelf. I mention this book because evidently one of the notions in the book was something called “A Strange Loop”. Hofstader, in a preface to an anniversary edition, stated that one of the questions GEB attempted to answer was “What is a self, and how can a self come out of stuff that is as selfless as a stone or a puddle?” Hofstader expounded on this in a later book, noting “In the end, we are self-perceiving, self-inventing, locked-in mirages that are little miracles of self-reference.” This self-reference was the “Strange Loop”: How our individual concept of self is build from the self-reference of our parents and our environment.  Amazon summarized it as follows: “I Am a Strange Loop argues that the key to understanding selves and consciousness is the “strange loop”-a special kind of abstract feedback loop inhabiting our brains. The most central and complex symbol in your brain is the one called “I.” The “I” is the nexus in our brain, one of many symbols seeming to have free will and to have gained the paradoxical ability to push particles around, rather than the reverse. How can a mysterious abstraction be real-or is our “I” merely a convenient fiction? ”

I mention this all because today we saw the musical A Strange Loop at the Ahmanson: a musical about a man writing a musical about a man writing a musical called A Strange Loop; said musical being a self introspective musical about the big, black, queer, gay man writing a musical about a big, black, queer, gay man and the self-reference that shaped his life. I’ll note from the outset that this is not a musical for everyone, and we did have some audience members leave during the show not to return. That’s not because this musical is bad. But rather, this musical is in your face about being fat, about being queer, about being black, about being black and queer, about big black queer folks have sex in their buttholes, about racism in the gay community. It is a perfect musical for Pride Month. However, it is not a good musical if you are a white straight musical theatre person expecting Hello Dolly or their last musical Funny Girl. Oh, and it is inappropriate for children and early teens.

But my wife and I are weird. Yes, we’re white and straight, and we’re old, but we’re also accepting. As they put it in the musical Bare: God don’t make no trash. We’ll love you and accept you however, whatever, whoever you are, and whoever you love. [Well, we’re not quite sure if you’re a Trump supporter—you need other strong redeeming qualities. There are some lines, after all.]

Back to A Strange Loop. What is this show about? That’s a good question. On the surface, it is as I said: A story about a big black queer man (Usher) writing a musical about a big black queer man writing a musical. But more so, the show is about how that man’s thoughts (which are portrayed by a group of six actors) shape the man and the show he is writing. This includes his self-loathing; his relationship with his parents and their very “Christian” and anti-Gay attitudes; his views on the shape of the black gay community and white gays vs black gays; about the issues with his inner white girl. It is a story about his screwed up sex drive, and how leads to mental self harm. It is about how his segment of the black community views Tyler Perry, and how Perry targets a particular segment of the black community (“chitlin’ circuit”). It is how Usher deals with viewing himself as a race traitor, and deals with his blackness. Essentially, it is a lot of self-introspection. I saw one critique of this show referring to it as a “woke identity” musical (and hating it). I guess it is “woke identity” and that is why Conservatives would walk out. But to me, the issue is less “woke” and more “identity”. This is a very explicit self-introspective musical of what it is like to be a big black queer man, who doesn’t particularly like himself, what he has become, or his skin.

So where does this all go? By the end of the musical, I won’t say that Usher is happy. But at least he has come to understand himself, and more importantly, to accept himself and to know where he came from. He’s able to finish his musical.

The music in the show is compelling and driven. It is explicit. At times it is strong and driving. But it has a good message. However, none of the songs will really have a life outside the context of this musical. This is likely to become a specialty piece (alas, probably dragged out during Pride Month by gay theatre groups), not a piece that will be regularly revived by community and regional theatres. In the gay theatre pantheon of shows, you’ll be more likely to get La Cage Aux Folles or Fun Home than this show.

The performances were very strong. We had the alternative for Usher (Alvas Green Jr), and he did wonderfully (although he had some mic problems that made him hard to hear). The thoughts behind him were astounding—watch how they are playful and amplify what they are saying through movement and expression. This isn’t a strong dance musical; it is more movement that amplifies expression.

On the scenic side, this was simple. Usher up front; nooks for the thoughts, and occasional different scenes. Not a lot of projections.

So, let’s address the big question: Should you see this? First and foremost, this isn’t a bad show. It certainly isn’t Girl From the North Country. But this is not a musical for everyone. If you are not comfortable with in-your-face queerness, in-your-face sex, in-your-face blackness, or explicit language, then stay home. If you aren’t willing to explore an honest look at segments of the black community, I’d stay home. If you’re looking for a more traditional black musical, go up the street and see Jelly’s Last Jam at the Pasadena Playhouse. Yet even that musical explores issues of self-doubt and bias in the black community (although in that case, it is Creoles looking down on Plantation Blacks, and Be-Bop Jazz looking down on N’Oleans Jazz).

If you’ve gotten through the above: Congratulations. You should go see A Strange Loop. It is a wonderful exploration of blackness and queerness. I think our dear friend Karen P. would have loved this musical. The music is fun, and I think it has a thought provoking message. Further, if you understand the Hosftader reference, you’ll see how the self-reference here can apply to anyone, seeing how the biases and doubts from our parents and society shape us, and how we need to move past them to break the strange loop.

———

A Strange Loop. Book, Music, and Lyrics by Michael R. Jackson. Directed by Stephen Brackett. Choreography by Raja Feather Kelly

Cast: Malachi McCaskill alternating with Alvis Green Jr. Usher; Tarra Conner Jones Thought 1; J. Cameron Barnett Thought 2; Avionce Hoyles Thought 3; John-Andrew Morrison Thought 4; Jordan Barbour Thought 5; Carlis Shane Clark Thought 6. Understudies: Dave J. Abrams u/s Thoughts 2/3; Angela Alise u/s Thought 1; Albert Hodge u/s Thought 4; Tristan J. Shuler u/s Thoughts 5/6.

Music Department: Sean Kana Conductor / Keys 1; David Moschler Keys 2 / Guitar / AMD; Willy Yanez Guitar; Alex Bailey Drums; Jennifer Leitham Bass; Sal Lozano Reeds; Tory Dexter and Chris Horvath Keys 2/ Guitar Sub; Robert Payne Contractor; David Moschler Assoc Music Director.

Production and Creative: Arnulfo Maldonado Scenic Designer; Montana Levi Blanco Costume Designer; Jen Schriever Lighting Design; Drew Levy Sound Design; Cookie Jordan Wigs, Hair, and Makeup Design; Chelsea Pace Intimacy Coordinator; The Tesley Company / Destinly Lilly CSA Casting; Katie Craddock Casting; Hailah Harper-Malevaux Assoc. Director; Candace Taylor Assoc. Choreographer; Dave J. Abrams Dance Captain; Aaron Tacy Assoc Lighting Designer; Edmond O’Neal Production Stage Manager; Camella Coopilton Asst. Stage Manager; Julia Formanek Asst. Stage Manager. No tour managers are listed, so this does not appear to be a touring production. Favorite staff credits: Kyla Eveillard Lactation; Dr. Cathia Walters Psychologist.

♦ ♦ ♦

Administrivia: I am not a professional critic. I’m a cybersecurity professional, a roadgeek who does a highway site and a podcast about California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at: Center Theatre Group/Ahmanson Theatre; Broadway in Hollywood/Pantages Theatre; Pasadena Playhouse; and 5-Star Theatricals. We’re looking for the right intimate theatre to subscribe at — it hasn’t been the same since Rep East died (it’s now The Main, and although it does a lot of theatre, it doesn’t have seasons or a resident company), and post-COVID, most 99-seaters aren’t back to doing seasons (or seasons we like). I used to do more detailed writeups; here’s my current approach.

Upcoming ♦ Theatre / ♣ Music / ◊ Other Live Performance – Next 90ish Days (⊕ indicates ticketing is pending):

• June: ♦ Mrs. Doubtfire at Broadway in Hollywood/Pantages; ♦ Come Blow Your Horn at Canyon Theatre Guild; ♦ Radium Girls at Stage Left Productions (Surprise AZ).
• July: ♦ Peter Pan at Broadway in Hollywood/Pantages; ♦ The Sound of Music at 5-Star Theatricals;
• August: ♦ Clue at CTG/Ahamanson Theatre; ♦ Company at Broadway in Hollywood/Pantages; ♣ Postmodern Jukebox at The Magnolia, El Cajon.
• September: ♦ Hamilton at Broadway in Hollywood/Pantages; Cyrano de Bergerac ⊕ at Pasadena Playhouse;
• October: ♦ American Idiot ⊕ at CTG/Taper; ♦ Little Shop of Horrors at 5-Star Theatricals; ♦ Kimberly Akimbo at Broadway in Hollywood/Pantages.

On the Theatrical Horizon:

Season renewals time: Center Theatre Group/Ahmanson Theatre; Broadway in Hollywood/Pantages Theatre; and Pasadena Playhouse are all renewed. We’re looking to see what Chromolume Theatre (which is returning) and Canyon Theatre Guild are planning. Other than that, Jason Alexander will be doing Fiddler on the Roof , directed by Lonny Price, at La Mirada in November.

This entry was originally posted on Observations Along the Road as A Strange (but Good) Show | "A Strange Loop" @ CTG/Ahmanson by cahwyguy. Although you can comment on DW, please make comments on original post at the Wordpress blog using the link to the left. You can sign in with your LJ, DW, FB, or a myriad of other accounts. Note: Subsequent changes made to the post on the blog are not propagated by the SNAP Crossposter; please visit the original post to see the latest version. P.S.: If you see share buttons above, note that they do not work outside of the Wordpress blog.