Soon after, Jackson’s friend died of AIDS-related complications. Six years later, a friend of Jackson’s opened up about being a person living with HIV/AIDS.
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“And I just was struck by hearing that message on the screen, seeing that response in the movie theater, and remembering this message of AIDS is God’s punishment.” “The way it was presented was almost like it was a punishment for their sins,” Jackson said. “There was a woman in front of me in a theater that said, ‘That’s what she gets,’ when Jurnee Smollett’s character finds out that she’s HIV-positive,” Jackson said. Jackson said the scene was partly inspired by Tyler Perry’s 2013 movie, “Temptation: Confessions of a Marriage Counselor,” which was criticized for its portrayal of people living with HIV/AIDS.
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In one scene, a chorus shouts “AIDS is God’s punishment” during a funeral for a member of Usher’s family who died of HIV/AIDS. “The fact that there’s a show on Broadway and on the marquee of that theater it says ‘big, Black, queer American Broadway show,’ is revolutionary,” he said.Īs Black gay and bisexual men continue to face disproportionately high rates of HIV diagnoses, the play also addresses HIV/AIDS-related stigma. The play’s messaging is especially timely, amid a wave of anti-LGBTQ laws across the country, he said. “The fact that it has is already revolutionary.” “For many years, we were workshopping this and we thought it would never ever make the light of day,” he said. John-Andrew Morrison, who received a Tony nomination for his performance as Thought 4, said the play’s spot on Broadway is a win in itself. “The fact that part of the show’s journey was in the back of the porn studio and then part of its journey is on a Broadway stage - only speaks to the big, Black and queerness of it all,” Jackson said. In the two decades leading up to snagging 11 Tony nominations, the play was workshopped in a gay porn studio in Manhattan. Jackson, a New York University graduate, said he started writing “A Strange Loop” in his early 20s as a monologue. “I think the hopelessness and hopefulness of it all is really beautiful.” Journey to Broadway “A lot of my religious trauma came up so I was definitely crying a lot,” she said. The show’s discussions about religion and sexuality hit close to home for her. “It looked so good I was like, ‘I’m going to be in New York, I have to come to see it,’” said Esan, 20. Most of the plays that have queer characters are based in whiteness.”Īnother audience member, Reni Esan, a college student in Swarthmore, Pennsylvania, came to see the show after viewing a clip of a performance on TikTok. “It’s important for us to see ourselves in artistic work.
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“When I heard it was Black and gay, that was the most important thing to me,” said White, who is in his mid-30s. Devonta White of Harlem, who attended a performance of the show in early June, said it was exciting to see some of his experiences as a Black LGBTQ person displayed in a play.