Michael R. Jackson’s Strange Loop follow-up is a fascinating fiasco.
both wants to offer up a soap opera thrill ride and dismantle the ride as it’s running. By the end of the show, it has twisted around and smashed into itself.
The first act of the musical proceeds as a fairly straightforward soap send-up, with Keesha trying her best to integrate into Allwhite’s high school and win over Meagan, Maegan, and Megan as they all avoid a mysterious serial killer on the loose. Jackson, who, pushes in the opposite direction here, aiming for broader comedy and heightened emotion.
The set-up leads to some of the show’s best jokes. Each of the three Megans have their own comedic game — one’s a rich bitch, one’s a cheerleader with an eating disorder, one’s a “klutz” who keeps getting abused — and their own boyfriend, all played by Eric William Morris, offering variations on the theme of douche. Morris’s scenes often repeat three times over for three swats at similar punchlines. The songs pull from the sound of ‘80s and ‘90s rock and are invariably up-tempo and belt heavy.
’s second act, Keesha becomes the queen bee. Keesha rules Allwhite as an Obama slash Meghan Markle slash Olivia Pope figure , parroting the language of diversity, equity, and inclusion while establishing a new regime that’s just as unequal, but with herself on top. The comedy turns lacerating but less contained, as Jackson fires a shotgun at “bougie Blackground social climbing.” The emotional stakes, however, come out more clearly here.
There’s more to explore there, but soon that writer’s demands get increasingly ludicrous. Characters are arrested, suddenly revealed to be lesbians, and set into a wild chase in the woods, before Keesha and Nell, in a move that ends up recalling Keanu confronting the architect of his simulation inends up resembling. It’s personal, quieter, and for all its metaness, direct.
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