Critics who have reimagined their role as one mainly concerned with filling out intersectional bingo cards exploded with joy when they encountered Michael R. Jackson’s A Strange Loop (at the Lyceum Theatre), for which the writer provided book, music, and lyrics. It’s too much to ask for Broadway reviewers to restrain themselves when offered a “fat, black, queer” protagonist, and restrain themselves they did not. A retiree meeting her newborn grandchildren could scarcely have reacted more joyfully than critics did to this work. (The Times: “There is no measure of praise that could be too much; after all, this is a show that allows a Black gay man to be vulnerable onstage without dismissing or fetishizing his trauma.”) The show captured the Pulitzer Prize in 2020 and the Tony for Best Musical in...


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