Hilton Als profiles Michael R. Jackson, the composer and playwright behind the award-winning musical “A Strange Loop,” whose new show, “White Girl in Danger,” reimagines the soap opera.
One evening before the world shut down, Jackson and I had dinner at Orso, in midtown, a favorite of show-business folk. Jackson is brown-skinned, with a beautifully shaped head and large eyes framed by glasses that are habitually smudged—they sometimes make him look like a kid who knows a lot and is just off to the library, beyond excited to learn more. The playwright was filled with his usual verve.
In “White Girl in Danger,” Jackson continues to examine how humanity gets categorized—by race, gender, and class—and what those straitjackets feel like when you try to break out of them and reach for something like freedom. In this musical, which he began to write in the fall of 2017, Jackson, an inveterate fan of soap operas, has created a soap-opera town called Allwhite, in which Meagan, Maegan, and Megan—three versions of the same whiteness—can’t leave the house without encountering . . .
Is it clumsiness or is it Zack? Either way, Meagan can’t seem to stay out of danger. White Girl in Danger. . . .The drama centers on maternal revenge, premarital sex, and—a huge plot point—a Black girl named Keesha Gibbs, who lives in Blackground but wants to cross over to Allwhite.
Part of the brilliance of “A Strange Loop” lies in the conflict between Usher’s self-awareness and the demands of the gay marketplace.
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