A Strange Loop

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Playwrights Horizons goes a long way toward redeeming a lackluster season with this final offering, a co-production with Page 73 Productions, an organization devoted to giving New York professional debuts to talented early-career playwrights. Michael R. Jackson (White Girl in Danger), who clearly falls into that category, has written one of the most original, unruly, affecting, outrageously theatrical shows of the season. Jackson’s protagonist is Usher, a 25-year-old overweight, gay, black man who supports his dream to write musicals by ushering at The Lion King. The musical he is struggling to write is about a 25-year-old overweight, gay, black man who supports his dream to write musicals by ushering at The Lion King. Thus the loop of the title. We witness the many roots of Usher’s self-loathing and the desperation to which it can lead. In one ironic twist, the negative prejudice he encounters when seeking sex is mainly from blacks, while he is an object of desire from whites who crave interracial sex. All Usher’s mother wants from him is to write a gospel play in the style of Tyler Perry, whose work he loathes. There is not really a linear plot; instead we get a stylized, occasionally metatheatrical, examination of Usher’s psyche. The show is often hysterically funny, but Usher’s pain cannot be suppressed and breaks through powerfully from time to time. Larry Owens (Gigantic) is no less than magnificent as Usher; he gives his all and then some. The six marvelous actors — Antwayn Hopper (The Loophole), James Jackson, Jr. (The Black-Ups), L. Morgan Lee (Jesus Christ Superstar), John-Michael Lyles (This Ain’t No Disco), John-Andrew Morrison (The Missionary) and Jason Veasey (The Lion King)—who share the stage with him are only identified as Thoughts 1 through 6 so I unfortunately can’t single out any of them for special praise. The music is lively; the lyrics are so dense that it is occasionally difficult to catch everything at first hearing. The production pulls out all the stops. Arnulfo Maldonado’s (I Was Most Alive with You) initially unimpressive set undergoes a series of amazing transformations. Montana Levi Bianco’s (Ain’t No Mo) multiple costumes for each actor are a treat to see. Raja Feather Kelly’s choreography (Funnyhouse of a Negro, Fairview) adds a lot to the production. Director Stephen Brackett (Be More Chill, Buyer & Cellar) skillfully holds everything together. This was certainly one of the most exciting and original shows I saw this year. Would that Playwrights Horizons achieved these heights more often! Running time: one hour 45 minutes; no intermission. NOTE: If you are uncomfortable with rough language and simulated sodomy, this is most definitely not the show for you.

Playwrights Horizons has provided a trailer on their website. Here’s a link:

https://www.youtube.com/watch?v=SgHEnOb9B9Q

Spamilton *** B-

Over the years, Gerard Alessandrini has provided immense pleasure with over 20 editions of his clever, funny series Forbidden Broadway. Writing a parody of Broadway’s current megahit was almost inevitable. First, let me warn you that if you haven’t seen Hamilton or at least become familiar with the score and you aren’t a big fan of Broadway musicals, especially those by Sondheim, you will not likely enjoy this show. Even though I had just seen Hamilton earlier this month, I found some of the skits hard to follow. Some of the funniest moments are when Alessandrini wanders away from his main target and gives us scenes from fake musicals such as “American Psycho in Paris” and “The Lion King and I.” The cast — Nicholas Edwards, Chris Anthony Giles, Larry Owens, Dan Rosales and Nora Schell — are terrific, as is guest diva Christine Pedi. The costumes by Dustin Cross are a hoot. The amusing choreography by Gerry McIntyre gets maximum use out of a postage-stamp-size stage. While there are many hilarious moments, I found this show less consistently enjoyable than Alessandrini’s earlier efforts. The show is at the Triad, a night club with uncomfortable general admission seating, iffy sightlines and a two-drink minimum. Running time: 75 minutes, no intermission.

Gigantic **

This musical with a book by Randy Blair and Tim Drucker, music by Matthew roi Berger and lyrics by Blair has been kicking around in various forms since 2009. As “Fat Camp,” it won Best of Fest award at the New York Musical Theatre Festival in a production directed by Alex Timbers. In 2012 American Theatre of Actors revived it with several cast changes and a set by Beowulf Boritt. Why talents such as Timbers or Boritt were attracted to this pedestrian show and why Vineyard Theatre decided to give it a third New York outing are mysteries to me. The antics at a summer camp for overweight teenagers are a slender {pun not intended} thread for a full-evening musical. During the second act, the authors try frantically to liven things up with a production number featuring a dozen or so life-size dancing animals that bears no relation to anything else in the show. Likewise, as part of the color war, one team, with no rationale whatever, performs a scene from “The Crucible” dressed in Pilgrim costumes made from trash bags. The energetic, appealing cast give it their all. They are all good, but Bonnie Milligan, Larry Owens and Leslie Kritzer stand out. The music is generic pop-rock, with many songs sounding almost alike to me. I might have appreciated the music more had it not been blasted at levels that were painful to bear. The woodsy set by Timothy R. Mackabee is quite attractive and Gregory Gale’s costumes are inspired. The choreography by Chase Brock is lively and the direction by Scott Schwartz is smooth. Too bad the the quality of the material does not match the high level of the production. Running time: 2 hours 15 minutes including intermission.