Jackson has described his musical as “not formally autobiographical,” but it is about a young man in a “fat, Black queer body” who’s trying to write a musical about his own life. How resistant is Usher to writing a Tyler Perry gospel play for the chitlin circuit? The character is named Usher (which refers to the character’s job as an usher for a Disney musical on Broadway, not the famous singer), and everybody wants Usher to write something that is “unapologetically Black” or “about slavery or police violence so the allies in audience have something intersectional to hold onto.” Or better yet, Usher should ghostwrite a gospel play so that Tyler Perry can put his name on it.
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In addition to Tyler Perry, that’s the other even more breathtaking thing about “Loop.” It contains more references, euphemisms and slurs about gay anal sex than those bestselling twin manuals “How to Top/How to Bottom Like a Porn Star.” ‘Funny Girl’ Broadway Review: She’s Back, Finally, and Very Different “His plays are worse for Black people than dia-f-ing-betes!” Usher shouts. “Loop” isn’t exactly politically correct on this sensitive subject.
Usher’s predilection for wanting to “take it” is very much an extension of his Low Self Esteem, which is actually a character in the show (seen walking across the stage on numerous occasions) and “My Inner White Girl,” which he sings about. No, Usher is not a happy gay camper and never does he turn into one. In this show’s Off Broadway world premiere, Larry Owens in the lead role owed much to Harvey Fierstein in the original “Torch Song Trilogy” without every stooping to play it cute to win our empathy.
In his spectacular Broadway debut, Jacquel Sivey now uses his heft to embody Usher’s large appetites, resentment, defiance and talent.