A Strange Loop

Book, Music, and Lyrics by Michael R. Jackson

Choreographed by Raja Feather Kelly

Directed by Stephen Brackett

THE CAST

Jordan Barbour
Thought 5

J. Cameron Barnett
Thought 2

Carlis Shane Clark
Thought 6

Alvis Green Jr.
Usher Alternate*

Avionce Hoyles
Thought 3

Tarra Conner Jones
Thought 1

Malachi McCaskill
Usher

John-Andrew Morrison
Thought 4

*4/27 eve, 5/1 mat, 5/4 eve, 5/8 mat, 5/11 eve

UNDERSTUDIES

Dave J. Abrams**
Thought 2/3

Angela Alise
Thought 1

Albert Hodge
Thought 4

Tristan J Shuler
Thoughts 5/6

STAGE MANAGEMENT

Edmond O’Neal
Production Stage Manager

Camella Coopilton
Assistant Stage Manager

Julia Formanek
Assistant Stage Manager

Dick Daley
Stage Management Substitute

CREATIVE TEAM

Arnulfo Maldonado
Scenic Designer

Montana Levi Blanco
Costume Designer

Jen Schriever
Lighting Designer

Drew Levy
Sound Designer

Cookie Jordan
WIGS, HAIR, AND MAKE-UP DESIGNER

Sean Kana
Music Director

Chelsea Pace
Intimacy

The Telsey Company / Destiny Lilly, CSA and Katie Craddock
Casting

Nailah Harper-Malveaux
Associate Director

Candace Taylor
Associate Choreographer

Aaron Tacy
Associate Lighting Designer

**Dance Captain

_{Original Broadway Production produced by Barbara Whitman}

_{Playwrights Horizons, Inc. in association with Page 73 Productions produced the World Premiere of “A Strange Loop” in New York City in 2019.}

_{Subsequently produced by Woolly Mammoth Theatre Company, Washington, DC.}

_{A STRANGE LOOP is presented by special arrangement with Concord Theatricals. concordtheatricals.com}

_{The actors and stage managers employed in this production are members of Actors’ Equity Association, the union of professional actors and stage managers in the United States.}

_{The videotaping or making of electronic or other audio and/or visual recordings of this production and distributing recordings or streams in any medium, including the internet, is strictly prohibited, a violation of the author(s)’s rights and actionable under United States copyright law. for more information, please visit: concordtheatricals}

A.C.T Producing Team

ANDY CHAN DONALD
Associate Artistic Director

LOUISA LISKA
Director of General Management & Operations

AMY DALBA
General Manager

MARTIN BARRON
Director of Production

The Band

SEAN KANA
Music Director, Keyboard 1

DAVID MÖSCHLER
Associate Music Director, Keyboard 2, Guitar 2

Larry de la Cruz
Reeds

MIKE SMITH
Guitar, Banjo

RICHARD DUKE
Bass

JOHN DOING
Drums

Production Sponsors

Lead Production Sponsor
Gilead Sciences

Company Sponsors
Donald J. and Toni Ratner Miller

Executive Producers
John L. Garfinkle; Kirke and Nancy Sawyer Hasson

Producers
Paul Asente and Ron Jenks

Associate Producers
Anonymous; Jesse Lee Eller, Studio 5 – Learning and Development, Inc.; Linda and Frank Kurtz; Michelle Shonk

Additional Support from
Grants for the Arts
Koret Foundation
The Shubert Foundation

Official Hotel Partner
The Westin San Francisco

Five Questions with Director Stephen Brackett

Tell us about your journey with A Strange Loop. How did you begin this incredible ride?

I first met Michael when he was at NYU Graduate school in 2008. A musical of his was being directed by a mentor of mine who recognized similar sensibilities in our work. When I saw his show I was floored by his writing—the transparency in his voice was audacious and thrilling and dangerous and so intensely soulful. It reflected a world I felt that I knew and understood. Immediately I pledged my allegiance to him, ended up directing a couple of his concerts, and immersed myself in his world. He approached me with A Strange Loop in 2012; I had known about the project and was desperately waiting for the invitation. We had many years of development, much of it in a porn studio being inhabited by Musical Theater Factory. We were met with much enthusiasm, but a pervasive sense that the show would never be produced—it was deemed too risky. Finally we met Barbara Whitman, our eventual producer in New York, and she opened doors for us we never imagined possible.

What’s been the most surprising or revelatory moment you’ve had in rehearsal with this show over the years?

I remember the first time we had a book workshop for this piece. The moment that broke me was when we spent an entire afternoon talking about our individual relationships with our mothers, and how that was represented in Usher’s relationship with his mom. There was such an overwhelming sense of care in the room, allowing for specific stories and insights to be shared. The common denominators were the tensions between real profound love and respect, and the more challenging expectations of the dreams they naturally have placed on us. It was a moment of such blinding clarity. It was a moment where we started to see how this show about this very specific character and his very specific perspective could hold some big universal truths that could resonate with an audience of people with disparate experiences.

You have a track record of working on new musicals. How does your process change when you’re rehearsing with a new cast a show you’ve directed numerous other times in readings and productions?

There’s something beautiful about bringing a new cast into an existing show. While the shape of the show exists, you get to know more about the psychology of the show through the brains and hearts you’ve assembled into the room. And a performance changes when a person’s lived experience is different. So the question becomes—how do we create these characters that we know, but filter them through the new people in the room? How does one’s worldview shape and influence a portrait of a person? It’s a thrilling process, and the conversations that happen invariably are surprising and moving. I work in the theater because I believe in collaboration. I love the chemistry of working with other people to create something whole.

Other than directing, what’s one theater role you would want to take on?

I definitely don’t have the skills for it, but I love working with designers in creating a world that articulates the play. So in another world, if I had those skills, I’d be a designer.

Why do you think San Francisco will love A Strange Loop?

Obviously San Francisco is a city steeped in gay history and culture, and our show is REAL gay. Apart from that surface observation, San Francisco is a city that really endured the brutal impact of the AIDS epidemic, and so much of this show expresses a sense of the gay anxiety of a generation growing up with the wake of the epidemic. I think that will resonate here. San Francisco is also a city full of glorious counterculture. I’ve been so moved by the people I’ve met here—there’s a pervasive sense of creativity and curiosity that permeates the city. Honestly it’s an ideal audience for this show.

Playwright’s Perspective: A Strange Loop

By Michael R. Jackson, Playwright

My name is Michael Jackson. That means my entire life has been overshadowed by the notoriety and infamy of a now-dead pop star. When I’m meeting someone for the first time, my uniquely famous name strips me of an identity that is solely my own.

In recent years, I have been mistaken for or identified as playwright-director Robert O’Hara to my face more times than I can count. It’s become a running gag where I am offering the correction “actually, I’m not Robert.” And to be clear, many of the people mistaking me were Black so it’s more complicated than a racist White person thinking “they all look the same.” But in either case, it is in these moments that my seeming resemblance to another Black man strips me of an identity that is solely my own.

Over the last few years, I have been meditating on the tendency of theater critics to compare Black playwrights’ plays to each other without making a substantive case for their comparisons. In most instances, these comparisons come in the form of the anointing of one Black writer’s work as the gold standard while other Black writers find themselves cast as lesser or failed satellites orbiting around them depending on how successful or unsuccessful the critics decide their plays are. I raise this issue not to scold anyone but to grapple in good faith with the extent to which the stories, questions, and obsessions Black writers have might truly appear to be the same to this largely but not exclusively White gaze, stripping Black writers of identities that are solely our own.

W.E.B. DuBois coined the term “double consciousness” to describe the uniquely African-American experience of “always looking at one’s self through the eyes of others, of measuring one’s soul by the tape of a world that looks on in amused contempt and pity.” But what is a “self” anyway? Cognitive scientist Douglas Hofstadter coined the term “a strange loop” to theorize about the self as merely a collection of meaningless symbols mirroring back on their own essences in repetition until death. He further theorized that a human being is the organism with the greatest capacity to perceive itself perceiving itself perceiving itself ad infinitum.

“What is a ‘self’ anyway?”

A Strange Loop is not formally autobiographical but I did begin writing it as a monologue in my early 20s when I experienced myself as nothing more than a mass of undesirable, fat, Black gay molecules floating in space without purpose. I was functionally miserable, relentlessly self-critical and very lonely. It was like I was on the outside of my body looking in and on the inside of my body scratching to get out. Self-hatred is a strange loop too.

When I think back on these “dark café days,” if I might borrow a phrase from songwriter Joni Mitchell, I imagine two killer lines from poems by Emily Dickinson and Nikki Giovanni in a kind of vaudeville act in my head that starts with Emily warmly introducing herself to Nikki with “I’m Nobody! Who are you?” And then Nikki clapping back at her with “I ain’t shit. You must be lower than that to care.” In my estimation, this negative feedback loop perfectly describes where we find Usher, the protagonist of A Strange Loop with his famous name that’s also the name of the occupation he’s working while he, like me, tries to pen a musical with a plot that requires us to ask ourselves questions like “Who is Usher? And who am/what is ‘I’? Whose gaze do I honor? Does it matter? Do I matter? Do Black “I’s” matter? Am I their negro? Am I not their negro? Or am I Michael Jackson? And if I am, do I finally get to claim an identity that is solely my own? Who is Usher? And who am/what is ‘I’? Whose gaze do I honor? Does it matter? Do I matter? Do Black “I’s” matter? Am I their negro? Am I not their negro? Or am I Michael Jackson? And if I am, do I finally get to claim an identity that is solely my own? Who is Usher? And who am/what is ‘I’? Whose gaze do I honor? Does it matter? Do I matter? Do Black “I’s” matter? Am I their negro? Am I not their negro? Or am I Michael Jackson? And if I am, do I finally get to claim an identity that is solely my own?

This essay first appeared in conjunction with the world premiere production of A Strange Loop at Playwrights Horizons in association with Page 73 in 2019.

Come Together: Creating Community

By Zach Stafford

In 2019, I was living in New York City, and one day my phone rang: It was a call from a dear friend and collaborator, songwriter Benj Pasek, who could not stop gushing over a show he had just seen. That show was the off-Broadway production of A Strange Loop.

Soon after this call, the show’s writer, Michael R. Jackson, would win a Pulitzer Prize and go on to become a darling of the New York theater scene. And Benj, a friend of Michael’s already, was making sure everyone in town—even outside the theater world—knew how amazing this show was.

With every call Benj made, he was not just able to talk a lot of us into seeing the show, he was able to connect us to producer Barbara Whitman, who was then able to weave an incredible tapestry of people to join her in bringing this show to life on Broadway. People including luminaries like Jennifer Hudson, RuPaul, Billy Porter, and many others, who all stepped up as co-producers during a global pandemic to make sure the world got to see how incredible A Strange Loop is on Broadway.

All us involved in producing A Strange Loop are grateful to the incredible communities surrounding American Conservatory Theater (A.C.T.) in San Francisco and Center Theatre Group (CTG) in Los Angeles—communities that came together and worked tirelessly to find a path for this show to make its West Coast premiere. Through their partnership, this show was able to dream a California Dream, with the original creative team coming in to help shape it with a brand-new cast, plus the return of our original Tony Award nominee, John-Andrew Morrison, as “Thought 4.”

Amidst these heroic efforts, our friends at Gilead—who had always been so supportive of the show since its run on Broadway—raised their hands to do something many companies would never do: produce a piece of theater. As A Strange Loop makes its California debut, A.C.T. and CTG are investing in deep community engagement work, to ensure that communities that have historically lacked access to theater are not only welcomed at these performances, but celebrated while they are here. These organizations are working closely with community partners to make sure they have tickets to join our ever-growing Strange family—all in the hopes that people are as changed by this piece as many of us were back in New York a few years ago.

As we share this show tonight, we are building bridges, and this couldn’t happen at a better time. We are all currently living in a time and place where LGBTQ+ folks, people of color, and those that live on the intersections of these two identities face so many hurdles. Much of the hate these groups face begins because people don’t truly know their stories. Telling those stories is what makes A Strange Loop so important today, and every day. It is through this act of you sitting here in this theater that we can all begin to peer through a window into someone else’s life, someone else’s story, and realize the world is big enough for all of us. Because, at the end of the day, the act of bringing people together from all walks of life to witness a story is still radical, and art can still touch each and every one of us if we let it. It is why all of us involved in theater-making keep getting up every single day and fighting to keep doing it over and over again—like our own beautiful and strange…loop.

Zach Stafford is a journalist, editor, and a Tony Award–winning producer. He is the co-host of the SiriusXM podcast Vibe Check, which The New York Times named one of the best podcasts of 2022. Prior, he was the first Black editor-in-chief of The Advocate, served as the chief content officer of Grindr, and was a journalist at The Guardian. Zach is also the author of two books titled Boys and When Dogs Heal. In 2019, he was included in the Forbes 30 Under 30 list and named as one of the 100 most influential Black people living today by The Root.

Who’s Who

Jordan Barbour (Thought 5)

happily returns to A.C.T. after appearing in Peter Brooks’s The Suit in 2014. A New York–based actor, singer, and writer, Barbour recently appeared on Broadway in the closing cast of Come From Away, and originated the role of Tristan in The Inheritance (2020 Tony Winner, Best Play). Barbour has toured internationally with The Suit, Come From Away, and Young Jean Lee’s The Shipment. Notable US venues include Theater for a New Audience, Oregon Shakespeare Festival, Kennedy Center, Diversionary Theater, Denver Center, Seattle Rep, and Pasadena Playhouse, among others. Additionally, Barbour voices Black Panther in Marvel’s Mech Strike animated comic series.

J. Cameron Barnett (Thought 2)

is best known for his recurring role as Castle on the series POSE. He’s toured the world in the musicals Hair, Smokey Joe’s Cafe, and The Buddy Holly Story. His select off-Broadway and regional credits include F*cking A (Signature Theatre/NYC), The Wiz and The Winter’s Tale (Oregon Shakespeare Festival), Finian’s Rainbow (Goodspeed Opera House), and The Producers (Ogunquit Playhouse). Some of Cameron’s film and television credits include Allswell in New York (Tribeca Film Festival Winner), Line of Duty, The Twilight Zone, and many others. jcameronbarnett.com IG @jcameronbarnett. (he/him)

Carlis Shane Clark (Thought 6)

is so excited to join this talented company! A performer since age 9, Clark obtained a BFA from New York University’s Tisch School of the Arts and has performed on stages in NYC, Edinburgh’s International Fringe Festival, and Los Angeles where he was honored at the LA Drama Critics Circle Awards, Stage Raw, and Ovation Awards. Clark most recently performed with the Boston Lyric Opera and Long Beach Opera’s The Feast and episodic series, desert in. Other recent television credits include Dear White People (Netflix), and Jean-Claude Van Johnson (Amazon Original). Film: Clemency (2019 Sundance Grand Jury Prize) and Dutch. Thank you to Telsey Casting, NOVA, BQ, & family. @carlisshane (he/him)

Alvis Green Jr. (Usher Alternate)

makes their west coast debut at A.C.T.! Past credits include Once on This Island, (Blackfriars Theatre), The Prom (JCC Centerstage), Smokey Joe’s Cafe (Blackfriars Theatre), Urinetown (Gatesingers CO), and Sister Act (OFCCreations). When Green isn’t on stage, they’re writing their own original music which can be streamed on all streaming platforms.

Avionce Hoyles (Thought 3)

is a Rock Hill, SC native and a graduate of the American Musical and Dramatic Academy of NY. Recently Hoyles has been traveling the globe in his self-written/performed love letter to the Queen Tina Turner in a show entitled Dear Tina. Other credits include FBI Most Wanted, Orange is the New Black (TV), Titanique, Bat Out of Hell, Boys of Summer (Off Broadway), Memphis the Musical, Bring It On, and Jesus Christ Superstar (National Tour). Thank you to my Kreativ Artist family and the A.C.T. team for this opportunity to create. Ephesians 3:20 @theeavioncehoyles @deartinashow

Tarra Conner Jones (Thought 1)

is an NYC based singer/actor/writer originally from Jacksonville, Fl. She recently made her off-Broadway debut in Michael R. Jackson’s White Girl In Danger (Second Stage Theater), where she received Drama Desk and Drama League Nominations, and an Audelco Award for her role as Nell Carter Gibbs. Past credits include: The Music Man (Broadway At Music Circus), Hairspray (Royal Caribbean Cruise Lines/Symphony of the Seas), The Color Purple (Maine State Music Theatre), Little Shop of Horrors (North Shore Music Theatre), Ma Rainey’s Black Bottom (Westcoast Black Theatre Troupe), Ain’t Misbehavin’ (Theatre By The Sea), Shrek The Musical (Alhambra Theater and Dining), Chicago The Musical (The Fulton), and From Birmingham To Broadway, a one act play with music about Nell Carter, written by Tarra (Westcoast Black Theatre Troupe). Tarra forever performs in memory of her mother, Chonita Conner, who cheers from heaven. Much appreciation to her agent, Dave Secor (Daniel Hoff Agency), and THEEEE Michael R. Jackson. @tarraconnerjones

Malachi McCaskill (Usher)

is excited to be making his A.C.T. debut in the Tony Award–winning, hit Broadway musical A Strange Loop! This North Carolina native hails from Jackson Springs, NC. He took his dreams of being on Broadway to Greensboro, NC, where he is a current junior obtaining his Bachelor’s in Fine Arts degree in Musical Theatre at the University of North Carolina Greensboro. Through his years in college, McCaskill has been working throughout North Carolina and in his school’s program. Some credits include: The SpongeBob Musical (Ensemble, u/s Patrick and Krabs), Rock of Ages (Lonny Barnett), Dontrell, Who Kissed the Sea (Dontrell Jones Jr.), and Godspell (John the Baptist/Judas) at UNC Greensboro; The Color Purple (Ensemble) at The Barn Dinner Theatre; and Beautiful: The Carole King Musical (Swing) and Elf The Musical (Macys Store Manager) at The North Carolina Theatre! IG @malachimccaskill (he/him)

John-Andrew Morrison (Thought 4)

is a Tony Award nominee and a Lucille Lortel and Obie Award winner for his work in A Strange Loop (Broadway and Off Broadway). He is an Outer Critics Circle Honoree for his work in the off-Broadway premiere of Blues For An Alabama Sky. Morrison is a cabaret artist headlining venues like 54 Below and The Green Room 42. He will be presenting his show No...Maybe...Why Not at Feinstein’s at the Nikko on April 29 at 7:30pm. BA from Brandeis University and an MFA from UC San Diego. He is a member of The Actors Center. johnandrewmorrison.com. @jandymorri

Dave J. Abrams (U/S Thought 2/3)

is exultant to be making a comeback to A.C.T. after his work in Hippest Trip: The Soul Train Musical (u/s Tony Cornelius, Ensemble). Recent theater credits include: TheatreWorks’s 25th Annual Putnam County Spelling Bee (Chip), Center Rep’s In the Heights (Benny), and Berkeley Playhouse’s Ragtime (Coalhouse), which awarded him a TBA Award for the principal role. Abrams holds a BA in Theater and Dance from the University of California, Berkeley. May you all enjoy this big, Black, queer ass American Broadway show! IG @davejabrams (he/him)

Angela Alise (U/S Thought 1)

is making her A.C.T. debut. Other regional credits include The Wolves (Actors Theatre of Louisville); Nothing to Lose But Our Chains and Black Side of the Moon (Second City @ Woolly Mammoth Theatre); Almost Accurate Guide to America (Second City @ The Kennedy Center); Hairspray (Drury Lane Theatre); The MLK Project (Writers Theatre); The Killing Game (A Red Orchid Theatre); The Wolves (Goodman Theatre); The House That Will Not Stand (Victory Gardens Theatre); and Saturday Night/Sunday Morning (2014 Steppenwolf Garage Rep). Alise was also previously the Artist Director of Prologue Theatre in Chicago for 5 seasons. (she/her)

Albert Hodge (U/S Thought 4)

is thrilled to be making his A.C.T. debut with this production. He recently appeared as Eddie/Dr. Scott in The Rocky Horror Show (Ray of Light Theatre/Oasis). Other recent credits include Mr. Bones in The Scottsboro Boys (42nd Street Moon), Pierre Bezukhov in the West Coast premiere of Natasha, Pierre and the Great Comet of 1812 (Shotgun Players), Narrator in Passing Strange (Shotgun), and Tom Collins in Rent (Landmark Musical Theatre). He is proud to have been a member of the final cast of Steve Silver’s Beach Blanket Babylon after 20 years with the longest-running musical review in the world. (he/him)

Tristan J Shuler (U/S Thought 5/6)

a bicoastal writer/director/actor, is honored to join the growing legacy of A Strange Loop in his A.C.T. & Center Theatre Group debut after being highlighted in YesBroadway's 40Under40 alongside Oscar winner Ariana DeBose and Tony winners Adrienne Warren and Alex Newell. Most recently, Tristan J was seen in the world premiere of Prelude to a Kiss: The Musical at South Coast Repertory. Other credits include: Off-Bway: Spamilton: An American Parody, Cruel Intentions: The 90's Musical, Urinetown the Musical, The Big Bang Theory: A Pop-Rock Musical Parody. National Tour: Spamilton, Odd Squad LIVE! International: Disney's Frozen (Kristoff). Regional: Rent (directed by Adam Pascal), Disney's Beauty & the Beast (Beast), Disney's The Little Mermaid (Prince Eric). Currently, he coaches numerous emerging writers on staff at Roadmap Writers and is a TV writer himself developing a slate of pilots. TristanJShuler.com @TristanJShuler

Michael R. Jackson (Book, Music, and Lyrics) is one of Time’s 100 most influential people of 2022. A Strange Loop (Playwrights Horizons 2019 world premiere in association with Page 73 Productions) won Tony Awards for Best Book and Best Musical, the Pulitzer Prize and New York Drama Critics Circle award. Awards and associations: Dramatist Guild Fellowship, Page 73’s Writers Group, New Professional Theatre Festival Award, Jonathan Larson Grant, Lincoln Center Emerging Artist Award, ASCAP Foundation Harold Adamson Award, Whiting Award, Helen Merrill Award, Outer Critics Circle Award, Drama Desk Award, Obie Award, Fred Ebb Award, Windham-Campbell Prize.

Raja Feather Kelly (Choreographer) is a choreographer and director, and the Artistic Director of the feath3r theory (TF3T), a dance-theatre-media company. Kelly has created 18 evening-length premieres with the feath3r theory. The company’s latest work, The Absolute Future, premieres in April 2024 at The NYU Skirball Center. His choreography can currently be seen in Michael R. Jackson and Anna K. Jacob’s Teeth at Playwrights Horizons, and Lempicka written by Matt Gould and Carson Kreitzer on Broadway. He choreographed the Tony Award–winning Broadway musical A Strange Loop, and is also a choreographer for off-Broadway theater with frequent collaborators like Jackson, Blain-Cruz, Branden Jacobs-Jenkins, and Sarah Benson. He has received numerous accolades, including a Princeton Arts Fellowship (2023–2025), three Princess Grace Awards, and a Lucille Lortel Award nomination for choreographing the Tony Award–winning musical A Strange Loop, to name a few.

Stephen Brackett (Director) has directed A Strange Loop on Broadway where he received a Tony Award nomination for his work, as well as off-Broadway, where he received the Drama Desk Award for best direction of a musical, London’s Barbican Theater, and DC’s Woolly Mammoth. Other credits include Be More Chill (Lyceum Theater, Signature Theater, Two River, London’s Other Palace and Shaftsbury Theater), The Lightning Thief (Longacre Theater, Theatreworks USA, National Tour), Buyer & Cellar (Off-Broadway, London’s Menier Chocolate Factory, National Tour), and AD 16 (Olney Theater).

Arnulfo Maldonado (Scenic Designer) is a New York City–based set and costume designer. He is a Tony Award nominee for Best Scenic Design of a Musical for A Strange Loop. Notable design credits include the recent 20th anniversary Broadway production of Topdog/Underdog by Suzan-Lori Parks (Golden Theatre), directed by Kenny Leon, and the Broadway premiere of Alice Childress’s Trouble In Mind (American Airlines Theatre), directed by Charles Randolph-Wright. West End/UK: A Strange Loop (Barbican Theater), In Dreams (Leeds Playhouse). Off-Broadway: Atlantic, CSC, Lincoln Center, MCC, MTC, New Group, Playwrights Horizons, Public Theatre, Roundabout, Second Stage, Signature, Soho Rep. Regional: Alley Theatre, Berkeley Rep, CTG, Guthrie, Steppenwolf, Woolly Mammoth. International Tour: The Magnetic Fields, 50 Song Memoir. Arnulfo received an Obie Award for Sustained Excellence in Set Design, as well as a Special Citation Obie, as part of the Creative Team of A Strange Loop. Arnulfo is a recipient of a Princess Grace Faberge Theater Award, Lucille Lortel Award, and a multiple Henry Hewes Design nominee.

Montana Levi Blanco (Costume Designer) is excited to make his A.C.T. debut. In the Bay Area, he has designed costumes for An Octoroon, Angels in America, Fairview, Ripple, the Wave that Carried Me Home (Berkeley Repertory Theatre), and Measure for Measure (California Shakespeare Theatre/Santa Cruz Shakespeare). Recent New York Credits include The Skin of Our Teeth (Lincoln Center Theater/Broadway); White Girl in Danger (Second Stage/ Vineyard Theatre); Champion, and El Niño (Metropolitan Opera). He is a recipient of the Tony Award, Drama Desk Award, Henry Hewes Design Award, and the Obie Award. Blanco is a graduate of Oberlin College and Conservatory of Music, Brown University, and the Yale School of Drama. montanaleviblanco.com

Jen Schriever (Lighting Designer) was lighting designer on Hippest Trip – The Soul Train Musical at A.C.T. Broadway credits include Mother Play, A Strange Loop (Tony nomination), Death of a Salesman (Tony nomination), 1776, Birthday Candles, Lackawanna Blues, What the Constitution Means to Me, Lifespan of a Fact, Eclipsed, Ghetto Klown. Jen recently lit A Transparent Musical at the Mark Taper Forum in LA. Opera credits include A Thousand Splendid Suns (World Premiere, Seattle Opera), Die Fledermaus, Pearl Fishers (Metropolitan Opera); Faust, A Midsummer Night’s Dream, La Traviata, (Mariinsky, Russia). Jen has an Obie Award for Sustained Excellence and is an adjunct at Purchase College. Mom to Henry. jenschriever.com

Drew Levy (Sound Designer) is thrilled to be working at ACT for the first time. Broadway credits include A Strange Loop (Tony nom.), Oklahoma! (Tony nom., Drama Desk nom.), Honeymoon in Vegas (Drama Desk nom.), Chaplin (Drama Desk Award), The Winslow Boy, The Importance of Being Earnest, and Present Laughter. Levy also took A Strange Loop to London, and was nominated for an Olivier for his work on Oklahoma!. Off-Broadway credits include Brynolf & Ljung’s Stalker, Oh Mary!, Judgment Day (Park Avenue Armory), Oklahoma!, Cleopatra, One Day the Musical, The Weir, Why Torture is Wrong..., Emergence-See!, Rainbow Kiss, Dutchman. Levy has worked at numerous regional theaters around the country.

Cookie Jordan (Wigs, Hair, and Make-Up Designer) Broadway: A Strange Loop, Camelot, The Piano Lesson, Into the Woods, Trouble In Mind, Clydes, POTUS, Slave Play, Choir Boy, The Cher Show, Once on This Island, Sunday in the Park with George, In Transit, Eclipsed, Side Show, After Midnight, Fela, A View From the Bridge, South Pacific. Off-Broadway: Flex, Orpheus Descending, White Girl in Danger, Flex, Girls, Fefu and Her Friends, Aint No Mo, Fairview, Toni Stone, If Pretty Hurts, The Secret Life of Bees, Boseman and Lena, Fabulation, Our Lady of 121st Street, In the Blood, Daddy, Hercules. Television: Emmy nominated for makeup design for NBC’s The Wiz Live. Recipient of 2019, 2020 Obie Award.

Sean Kana (Music Director) is grateful to be back at American Conservatory Theater. Kana is an award-winning music director known for his recent work on Hippest Trip – The Soul Train Musical as well being the associate music director for the show run and pre-Broadway tour of Ain’t Too Proud: The Life and Times of the Temptations at Berkeley Repertory Theatre. Sean just finished a world premiere new musical at Brava Theatre, Larry the Musical, where he served as co-composer, orchestrator, and music director. Kana has been involved with BRT as music director on Swept Away: A New Musical Tale. Sean has worked extensively with TheatreWorks and CenterREP and has toured around the globe in varying capacities. seankana.com

David Möschler (Associate Musical Director / Keyboard 2 / Guitars) is an award-winning conductor based in Oakland and is thrilled to return to A.C.T. where he was last seen music directing The Wizard of Oz and Mr. Burns: A Post-Electric Play. Since moving to California, he has music directed over 135 professional theater productions and toured with bands like The Dear Hunter and Pop Up Magazine throughout North America. Möschler has worked as Resident Music Director for YMTC since 2010 and has served on the music staff at College Light Opera Company since 2005. In 2013 he founded Awesöme Orchestra Collective, which he conducts every month. Find more info at davidmoschler.com. (he/him)

Chelsea Pace (Intimacy) returns to A.C.T. following her work on Big Data. Pace’s credits include the Broadway productions of A Strange Loop, Leopoldstadt, and K-POP, and a number of Off-Broadway productions. Select regional credits include La Jolla Playhouse, Berkeley Repertory Theatre, Signature Theatre, Studio Theatre, Woolly Mammoth Theatre Company, Folger Theatre, and Philadelphia Theatre Company. Her film and television work includes Drive Away Dolls, HARLEM, Dr. Death, A League of Their Own, Ramy, Wu-Tang, and Elsbeth. Pace founded Open Intimacy Creatives and is the author of Staging Sex: Best Practices, Tools, and Techniques for Theatrical Intimacy. chelseapace.com @professorpace (she/her)

The Telsey Company / Destiny Lilly, CSA (Casting) With offices in both New York and Los Angeles, The Telsey Office casts for theater, film, television, and commercials. The Telsey Office is dedicated to creating safe, equitable, and anti-racist spaces through collaboration, artistry, heart, accountability, and advocacy. thetelseyoffice.com

Katie Craddock (Casting) is the literary manager and casting associate at A.C.T. Her favorite casting processes here so far include The Headlands, The Wizard of Oz, Big Data, and workshops of commissions by Aleshea Harris, Eisa Davis, Craig Lucas, RyanNicole Austin & Adesha Adefela & Beau Lewis, Anne Washburn, and Kate Attwell. Previously she was the artistic associate at Berkeley Rep, where she supported season planning, casting, and dramaturgy, mentored artistic fellows, moderated postshow discussions, taught playwriting and dramaturgy to teens, served on the board/staff antiracism taskforce, and facilitated the making of new plays at The Ground Floor. (she/her)

Nailah Harper-Malveaux (Associate Director) has directed for A.C.T.’s MFA Program, including Sunset Baby and Belleville for SkyFest. Other directing credits include the West Coast premiere of Edit Annie by Mary Glen Fredrick (Crowded Fire) and the world premiere of Getting There by Dipika Guha (NCTC). She has worked at Woolly Mammoth, Pasadena Playhouse, Williamstown Theater Festival, Berkeley Repertory Theatre, and Baltimore Center Stage. Harper-Malveaux is a member of the groundbreaking Shared Leadership Team at Crowded Fire and serves as their Leader of Artistic Curation and Producing. She received her B.A. in American Studies and Theatre Studies from Yale University. (she/her)

Candace Taylor (Associate Choreographer) is a multi-passionate Dream Doula, whose work exists at the intersection of coaching, consulting, personal empowerment, and creative expression. She is NYC-based, but loves to travel the world empowering revolutionary leaders to use their unique gifts to cultivate meaningful life experiences. She has had the honor of working on A Strange Loop since 2019, helping to bring to life the Playwrights Horizon production, and has had the pleasure to reimagine the piece with every production since! (she/her) @candacethedreamdoula

Aaron Tacy (Associate Lighting Designer) is a lighting designer who primarily works as an associate on a wide variety of creative projects. With Jen Schriever on Broadway: A Strange Loop, 1776, Birthday Candles, Lackawanna Blues. Off-Broadway: White Girl In Danger (2ST/Vineyard). Regional/touring includes: Hippest Trip – The Soul Train Musical (A.C.T.), A Transparent Musical (CTG), and Blue Man Group (North American Tour). Activist for equitable practices in the arts, eliminating uncompensated labor, and a union-strong entertainment industry. Proud member of United Scenic Artists, Local USA 829, IATSE. aarontacy.com

Center Theatre Group (Co-Producer) Under the leadership of Artistic Director Snehal Desai and Managing Director/CEO Meghan Pressman, we believe theatre creates an extraordinary connection between artists and audiences that only starts on the stage. Theatre creates the energy that feeds a city, a culture, and a society. Theatre reflects the community it serves. As one of the nation’s most influential nonprofit theatre companies, we proudly continue our more than 50-year tradition of using the art of theatre to broaden horizons and illuminate new perspectives. centertheatregroup.org

Edmond O’Neal (Production Stage Manager) is a New York City–based freelance stage manager and educator. Broadway credits include Hadestown. National Tour credits include Ain’t Too Proud: the Life and Times of the Temptations and An Officer and a Gentleman. NYC workshop/reading credits include The Wrong Man, The Outsiders, and Pal Joey. Selected regional credits include Williamstown Theatre Festival, Lyric Repertory Company, Guthrie Theatre, and the Orlando Shakespeare Theatre. Edmond also works proudly in collaboration with Broadway and Beyond Access as well as Black Theatre United. Proud graduate of the Stage Management program at the David Geffen School of Drama at Yale and the University of Central Florida. (he/him)

Camella Coopilton (Assistant Stage Manager) holds a BA in Theatre from UC Santa Cruz and a MA in Education from Antioch University, Seattle. Her credits include Production Stage Manager for Both/And by Carolyn Ratteray at The Wallis Annenberg/ Boston Court and SHE by Marlow Wyatt at Antaeus Theatre Company. Coopilton was the Stage Manager of Blues for an Alabama Sky by Pearl Cleage and King James by Rajiv Joseph at Center Theatre Group. Her assistant stage manager credits include Two Trains Running by August Wilson at The Matrix. She co-founded Black Stage Everything and has served as Co-Artistic Director of Ammunition Theatre Company.

Julia Formanek (Assistant Stage Manager) is exited to return to A.C.T. after last working on Hippest Trip - The Soul Train Musical. Other regional credits include: Let The Right One In, Cambodian Rock Band, Goddess, Culture Clash (Berkeley Repertory Theatre), Sleeping Beauty: Panto in the Presidio (Presidio Theatre), Romeo y Juliet, House of Joy, and Everybody (California Shakespeare Theater).

Dick Daley (Stage Management Substitute) is currently the County of Marin Vaccine & Logistics Coordinator managing COVID-19 Vaccination sites and clinics. He’s been a sub-SM on Poor Yella Rednecks and The Wizard of Oz and has stage managed many shows and events at A.C.T., including The Great Leap, Top Girls, Satchmo at the Waldorf, Between Riverside and Crazy, A Little Night Music, Indian Ink, The Orphan of Zhao, 1776, Gem of the Ocean, Happy End, Travesties, A Moon for the Misbegotten, Waiting for Godot, A Christmas Carol, and the world premiere of After the War. Other positions at A.C.T. have been Associate Production Manager and Conservatory Producer. (he/him)

ADDITIONAL CREDITS

Hannah Bailey, Stage Management Production Assistant
Lucy Briggs, Deck Crew
Randy Cohen, Keyboard Programmer
Henry Cotter, Electrics Key/Spot Operator
Andrew Custer, Spot Operator
Azalea Fairley, Associate Costume Designer
Ben Fichthorn, Moving Light Programmer
Harley Haberman, Associate Wigs, Hair, and Make-up Designer
William Thomas Hodgson, Assistant Choreographer
Brian Hsieh, Sound Associate
Jeremy Lane and Jeremy Wahlers, Production Electricians
Christian Lee, A1
Beck Lindner, Rehearsal Substitute Production Assistant
Wyatt Martinez, Deck Crew
Julianne Merrill, Pat Master Productions, Playback Engineer
Russ Milligan, Technical Director
David Möschler, Associate Music Director
Dotty Petersen, Wig, Hair, and Make-up Consultant
Mike Pettry, Music Consultant
Mika Rubinfeld, On Book Production Assistant
Hannah Solomon, Assistant Lighting Designer
Russ Souza, Mechanic
Omar Stewart, Production Department Production Assistant
Corey Umlauf, Associate Scenic Designer
Dr. Cathia Walters, Psychologist (Walters Wellness Group)

SPECIAL THANKS

Barbara Whitman
Ken Silverman
Zach Stafford

In Conversation: Two Ushers and a Thought

By Joy Meads

A.C.T.’s Director of New Works and Dramaturgy, Joy Meads, sat down with Malachi McCaskill (“Usher”), Alvis Green, Jr. (“Usher Alternate”), and John-Andrew Morrison (“Thought 4”) to discuss A Strange Loop.

Joy Meads: Malachi and Alvis, this is the beginning of your journeys with A Strange Loop, but JAM, you’ve been involved with the piece for quite some time. Tell us about your history with the play.

John-Andrew Morrison:I have been involved with the song “Periodically” for many, many years. The first time I sang “Periodically” was for Michael [R. Jackson, playwright]; I believe it was in 2008. He was doing a show called the Dirty Laundry Cabaret at Ars Nova, and he asked me to read some voicemails from his mom as interstitials between the songs. A couple weeks before, he said, “And I have this song, would you sing it?” When I heard it for the first time, I thought, “This is an entire world in a song.” He had played one his mom’s messages for me, and what I heard in it was her deep love for her son. So even though “Periodically” is complicated, I knew it was really a love song from a mother to a son.

We did cabarets—Joe’s Pub, Ars Nova—all over New York City. Later on, he said, “Hey, I’m putting together this show called A Strange Loop.” We did it first at Playwrights Realm, and it was cast very differently: there were two white women and a white man in the show. Later, when Michael brought it to Musical Theater Factory, [director] Stephen [Brackett] asked him, “Why do you have John-Andrew sing this song?” Michael said, “I think I just like how he sings the song.” And Stephen said, “Well, what if the stage was peopled with all Black gay bodies?” Once Stephen said that, it cracked open the show: Michael realized, “Oh, they can be anything. They can morph; they can become all these things.” The first iteration of that version of A Strange Loop was in a gay porn studio above the Drama Book Shop.

JM: Malachi and Alvis, you’re joining the show at a time when it’s come a long way from the gay porn studio over the Drama Book Shop. It’s won the Pulitzer, 11 Tony Awards, it’s up for an Olivier. What does it feel like entering a show with that kind of prestige?

Malachi McCaskill: It feels surreal. I was in love with the show as soon as I heard it my sophomore year of college. When I listened to the Broadway recording, I thought, “Wow, I am Usher.” This role is life changing. I am getting to portray my life—the deep, dark part of me that I don’t really share with anybody. I’m getting to convey that honestly on a stage.

Alvis Green, Jr.: The pressure is definitely on. The only words I can use to describe it are “it’s an honor.” Growing up I would’ve loved to see something like this on Broadway. First, to know that there was a role specifically made for someone like me, and second, because the story itself would’ve had as much an impact on me then as it does now.

JM: Usher is such a personal part. You’re playing the inner workings of consciousness. It’s profoundly intimate aspects of self that we might not even share with family or close friends. What is it like to embody Usher and how do you bring yourself into the role?

MM: Usher has this strange loop of self-hatred and his perception of the world. The work I am doing is to bring Malachi’s perception: to figure out my strange loop in the world and then to apply it to Usher’s.

AGJ: It’s very enlightening and healing to be playing Usher. Usher goes through some similar occurrences that I went through when I was in my early 20s…it makes me want to give a younger version of Alvis a huge hug and I often want to give Usher a huge hug after the show as well. It’s also reteaching me to love myself more and to be kinder to myself.

JM: Different aspects of Usher’s consciousness are embodied by actors playing his Thoughts. Which of the Thoughts in the play feels most familiar to you?

MM: It changes day by day. There was a point in my life where I didn’t recognize Thought 1 at all. Thought 1 always speaks last, but she’s the one that encourages him and speaks life into him. Recently, I’ve been reconnecting with my Thought 1, and it’s been a beautiful experience to have her presence when she’s been gone for so long. But I have a deep connection with all of these Thoughts. My Daily Self-Loathing gets me down all the time: I have to tell myself, “Get out of your head, Malachi.” Especially with a show on this level. I am only a junior in college; I have to tell myself, “Malachi, you are worth it. If they didn’t like you, you wouldn’t be here.”

AGJ: For me, Thought 2 feels the most familiar. Thought 2’s main persona is Usher’s inner self-loathing, and while I’ve learned to keep mine at a very hushed tone, it’s the most familiar. I am my own worst critic and it would get to the point where I tell myself things like, “You can’t do that, that’s not for you, you’re silly to think you’re made for that or deserve that.”

JAM: As an actor, financial insecurity is very real. And the Black Excellence crowd is there too. You think, “Not only am I trying to do this thing for myself, but I want to show up and represent my race and make them proud. Am I doing that?” All of the Thoughts rear their ugly heads at some point in time. The fabulous thing is that Michael has written the play with so much humor that when they show up in my head, I can laugh a little bit about the ridiculousness—I can say to them, “Okay. Thanks for sharing.”

JM: A Strange Loop is perhaps the best dramatization of the mechanics of consciousness that I’ve ever seen on a stage. When I was a young woman, I read I Am a Strange Loop, the Douglas Hofsteder book that’s referenced in the play, and the central thesis blew my mind: that the concept of a unified self is a self-protective illusion. Actually, our consciousness is made up of all these different components firing away, often at cross-purposes. Has being in this play affected your feelings about the nature of consciousness at all?

JAM: It has been very healing to be part of this show. I’ve gotten to process some things I don’t know that I would’ve ever talked about with other people. These feelings I thought I would just take to my grave with me.

This piece does what great theater does best, which is make people feel less lonely in the world. People sit in the audience and think, “Oh my God, I thought I was the only one who had feelings like this.” It cracks consciousness open. There is healing in the community of gathering in a theater and being able to laugh at it and also be shocked by it and have catharsis with it. That is a wonderful thing.

JM: Speaking of things you don’t usually talk about with other people: this play requires true honesty from the artists making it, which depends upon having a culture of safety and trust among the ensemble. How was that culture created, and how is it maintained?

AGJ: I think being in a cast of all POC actors and the materials we’re working with, there was already an understanding that we were gonna need to rely on each other and trust each other from the first day.

MM: This is the first process I’ve been a part of where a serious foundation was laid, from the very beginning, of communication about how you feel. When I was cast, Stephen called me and said, “Hey, this show is very dense and it’s very dark, so if you ever need anything, please don’t hesitate to reach out to me.” And our intimacy coordinator, Chelsea Pace, has been very helpful. We even have a system in our show…when things get a little too dark, we call our girl Samantha. Things get a little too heavy for us, we say “Samantha,” and we all understand that to mean, “Hey, I need a minute; this is a lot for me right now.” If things get a little too dark, we can give each other a little nudge, a little back rub. It’s a very supportive atmosphere.

JM: JAM, I want to return to the subject of Usher’s mom and the love that grounds her. One of the aspects of this play I most admire is the way it depicts the depth and weight of her love, without minimizing the pain that her actions sometimes cause. What was it like finding that nuance as you were building the character of the mother?

JAM: The base of the character is love. She loves her kid; she loves him enough to hurt his feelings. She wants to save his life and his soul. My own mom would say to me, “If I didn’t care about you, I wouldn’t fuss on you; because I fuss on you, it means I am invested in you.”

JM: Michael R. Jackson describes himself as fundamentally a satirist. And, while satire has long played an important role in culture, we are in a bit of a fraught time for satire. Can you talk about the function of the play’s humor? How does it change the way that the audience listens to the story?

AGJ: It’s designed to sort of take away from the harshness of the material while still delivering a powerful message behind the work.

JAM: It allows for outrageousness. There’s a lot of stuff in this show that is just rude. But it’s also sly, because we’re constantly setting the audience up and pulling the rug out from under them. And as we’re doing it, we’re digging them a hole, so as we pull the rug out, they’re going deeper and deeper. I think that’s the wonderful, gut-punch surprise of the show—Michael is so funny, and the humor is so over-the-top, that the audience doesn’t realize what’s coming until they’re in it. I enjoy playing in the humor because every time they laugh, I’m think, “Oh, you poor things.”

MM: You have no idea what’s coming.

JAM: You have no idea.

Meet Our Ushers!

By Meg Murray

Welcome to your theater! Audience Services is so very excited to welcome A Strange Loop to the Toni Rembe Theater. As you might imagine, the subject matter is especially meaningful to many of us. In A Strange Loop, we get to know Usher, who’s working front of house at The Lion King on Broadway. On any given day at the Toni Rembe Theater there are upwards of twenty front of house staff with their own stories, memorable experiences, and anecdotes about what happens when a thousand people sit down together for a performance. We asked some of the crew about their connection to theater, their favorite theatrical experiences, and what it’s like to usher at A.C.T.

Jack

What is your connection to the arts?
I’m an actor and theater professional.

What do you love about being at A.C.T.?
A.C.T. is a temple to theater and it’s a great privilege to be working in the space.

What’s a fun fact about you?
I worked in a casting office for Broadway for a few years in NYC.

What has been your favorite or most memorable show?
The Goat, or who is Sylvia?—it was a production that really inspired me and blew my mind.

Kescha

What is your connection to the arts?
My grandmother introduced me to theater at a very young age; as a teacher, she took me to a "SMAT" dress rehearsal for the original Dream Girls play!

What do you love about being at A.C.T.?
The intentional creation of an inclusive and welcoming environment, with productions that are meaningful, inclusive, and relatable to the present.

What’s a fun fact about you?
Despite being introverted and shy, I’ve always wanted to try acting. When I was 5, my grandmother wrote a play for me titled The Little Marigold.

What has been your favorite or most memorable show?
Hard to say, but as of recent, Hippest Trip! Not just because it was an all around amazing production, but more so because of the nostalgia, connection, and reminiscence it brought for everyone.

Bria

What is your connection to the arts?
I’ve been a performer since I was a kid, from being in performance art school to going to college for acting.

What do you love about being at A.C.T.?
The sense of community that we have with each other from one department to another.

What’s a fun fact about you?
I went to a two year miming program.

What has been your favorite or most memorable show?
Hippest Trip. Working on the wig, hair, and makeup designs was a life changing experience—both personally and career-wise too.

Val

What is your connection to the arts?
I work in A.C.T.’s audience services department as an usher.

What do you love about being at A.C.T.?
It’s tight-knit and very friendly.

What’s a fun fact about you?
Ushering keeps a smile on my face!

What has been your favorite or most memorable show?
A Night with Janis Joplin. I loved the music, singing, and dancing.

Crawford

What is your connection to the arts?
I have been an independent filmmaker and stage actor for 8 years.

What do you love about being at A.C.T.?
The people, both my coworkers and our patrons, make this job worthwhile and meaningful to me.

What’s a fun fact about you?
I once performed as both an Elvis impersonator and a drag queen in the show The Legend of Georgia McBride.

What has been your favorite or most memorable show?
The Tempest at The Globe Theater in London. Going to The Globe had always been a bucket list item of mine and to see such a wonderfully directed show with such brilliant performances in that setting brought me to tears.inspired me and blew my mind.

Kat

What is your connection to the arts?
I have been involved in the arts my whole life. I started doing dance when I was 5 and was in theater in high school and college. I was involved both onstage and backstage as a part of the tech crew. It was always a part of my life, something I am very grateful for.

What do you love about being at A.C.T.?
I love that there is always a new experience. The lights go down and you are invited to experience firsthand another person’s story. It is the shared experience that keeps people coming back. I love having time to reflect on the story and talking with others about their individual experience with the show.

What’s a fun fact about you?
For one show in high school I was a follow-spot operator and I had to stay on the catwalks that were 50 feet high every show for the whole run.

What has been your favorite or most memorable show?
I loved Fefu and Her Friends because it was an opportunity to give the audience an experience that was completely different. My confidence as an usher also grew so much during this show because of all the logistical aspects of moving the groups around from one place to another.

Serena

What is your connection to the arts?
I’m a part of the audience services team.

What do you love about being at A.C.T.?
The feeling of family and inclusion.

What’s a fun fact about you?
I had a very tiny tiny tiny part in the movie Dirty Harry.

What has been your favorite or most memorable show?
A Night with Janis Joplin. It was electrifying and joyful

Gerry

What is your connection to the arts?
Began as a theater major and acted in community theater productions throughout my life.

What do you love about being at A.C.T.?
The audience goes home with sometimes funny, sometimes just entertaining, and always thought provoking material.

What’s a fun fact about you?
I was playing one of the Pidgeon sisters in a college production of The Odd Couple and my grandfather yelled out “THAT’S Gerry????!!!!” The fourth wall almost came tumbling down!

What has been your favorite or most memorable show?
Fat Ham and Hippest Trip. The first for its cleverness and the second for its absolute pure entertainment.

Lindsay

What is your connection to the arts?
My mom enrolled my sister and me in local theater when we were very young, and I fell in love with it.

What do you love about being at A.C.T.?
I love how inclusive the environment is at A.C.T.—it’s very welcoming

What’s a fun fact about you?
The first Broadway show I ever saw was The Lion King!

What has been your favorite or most memorable show?
The first show I did at A.C.T. was Passengers—I loved it! Everyone was so incredibly talented and it was such a spectacle to watch.

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