James Jackson, Jr.

...and his official website

The Provincetown INDEPENDENT - On Juneteenth, Speakers Take Up The Question of Belonging

“We have come a mighty long way, but there’s a mile and a half to go”

by Robert Cromwell (Original article HERE) - June 26, 2024

PROVINCETOWN — As drummers walked through the crowd to energize a Wednesday afternoon gathering, some 150 people converged on the Unitarian Universalist Meeting House to hear James Jackson, Jr., Jordan Hall, and local speakers take up the subject of belonging — the theme of Provincetown’s fourth annual Juneteenth celebration.

Ngina Lythcott, a Yoruba spiritual leader, opened the event with a call for those present to “invite our ancestors, upon whose shoulders we stand, to join us in observing and celebrating Juneteenth.” In December, Lythcott was named the 2023 Tim McCarthy Human Rights Champion for her decades of work documenting the connection between racism and Black women’s health outcomes and advocating for justice.

Pastor David Brown followed with a prayer. “We thank you for this, another Juneteenth day when we celebrate the freedom of those who were once enslaved,” he said. “Lord, we understand that we have come a mighty long way, but there’s a mile and a half to go.” Pastor Brown leads the Chapel in Pond Village congregation, which is sharing space with the Wellfleet United Methodist Church while they await word from the building’s owners about their hope of buying it.

“If we’re going to have a conversation about Juneteenth, first we need to have a conversation about punctuality,” said Jackson, who starred in the Tony-winning Broadway musical, A Strange Loop, and brought his talent to the stage at the Gifford House for the holiday.

He was talking about the fact that Juneteenth marks the day some 2,000 Union troops arrived in Galveston Bay, Texas and the army announced that the more than 250,000 enslaved Black people in the state were free by executive decree. This was two and a half years after the Emancipation Proclamation was signed on Jan. 1, 1863. Long celebrated by many Black Americans, Juneteenth was recognized as a federal holiday in 2021.

On the question of belonging, Jackson reminded those assembled that Provincetown is not seen by everyone as a place where Black queer people are welcome. “I have several friends in New York — collaborators, other artists, people of color — who do not understand my fascination with and love of Provincetown,” Jackson said. “They simply say that Provincetown is not for them.” That fact, he said, “breaks my heart because that’s never been my story. Part of why I tell the story of who I am and where I’m from and why it is home to me is because I’m too good to be erased,” Jackson said. “I think we all are.”

After the celebration, Jackson told the Independent that despite Provincetown’s commitment to anti-racism there are noticeably fewer people of color “on the marquee” here. In a place that attracts performers from all over the country and the world, he said, the community has a responsibility to give a stage and platform to more performers of color.

Jordan Hall, a.k.a. Boy Radio, who is starring in this year’s 50th anniversary production of The Rocky Horror Show at the Provincetown Theater, wanted everyone present to reflect on the feeling of belonging. “Why are you here?” He asked the crowd. “Why do you come here? Why do you stay?” He had his own answer. “Sometimes it feels like the spaces weren’t built for me,” he said. “But they are for me. You belong here. You all belong here.”

Other speakers and performers included cabaret singer Qya Cristál, drag performers Devy and Lakia Mondale, singer and high school student Alyanna Dennis, and Town Manager Alex Morse.

Following the speeches, the cookout began with a spread of food including burgers, jalapeño cheddar biscuits, fried chicken, a variety of slaws and greens, and desserts including a red velvet cake that did not last long.

Comedian and creator of Summer of Sass, Kristen Becker and the crew of the Provincetown Brewing Co. — Chris Spaulding, Chris Hartley, and Erik Borg, who is also a member of the select board — were among those serving the food.

Volunteers ushered people of color to the front of the line, an idea that Michaela Peck, who splits her time between Provincetown and New York, initially resisted. “I wouldn’t feel right,” she said, but after significant coaxing, she took her place at the front, saying yes to a symbolic gesture that the celebration’s organizers had envisioned.

NY Times Review: “White Girl in Danger” at Second Stage

What comes to mind when you think of soap operas? Amnesia, murders, cliffhangers, catfights?

Think bigger.

Even judged by the standards of “All My Children” and “Dynasty,” Michael R. Jackson’s satirical soap musical “White Girl in Danger,” which opened on Monday at the Tony Kiser Theater, is a wild, raunchy, overstuffed tale.

Sure, it features amnesia and the rest, and mile-a-minute jokes, but the author of the Pulitzer Prize-winning “A Strange Loop” has also packed the nearly three hours of “White Girl” — way too long — with a thesis’ worth of insight and argument. By the time you get to the dildo slapping and the “Hairspray” parody, followed by the anguished yet hopeful finale, you no longer know what hilarious, despairing, muddle of a planet you’re on.

Surely that was the plan. “White Girl in Danger,” directed by Lileana Blain-Cruz, is simultaneously set in a fictional soap opera world called Allwhite and a metaphorical one inhabited by ideas. Allwhite is dominated, of course, by its white characters: the high-school mean girls Meagan, Maegan and Megan (abused, bulimic, druggy), their mothers (smothering, manipulative, viperish) and their boyfriends (psychotic, supportive, dissolute). Among the girls especially, privilege is assumed; it allows them to “choose their own adventures.”

Their priorities are a little off, though. The most pressing issue they face as the insanely catchy title song kick-starts the action is not so much the discovery, every few minutes, of another white schoolmate’s body in the Allwhite woods. It’s the way the deaths threaten their hopes of winning an upcoming battle of the bands. Who will be left to play autoharp?

The Black inhabitants of Allwhite have different problems. The Allwhite Writer (represented at first by thunderbolts and a voice-over) has consigned them to the “Blackground,” there to serve as friends, helpers and (in inexplicable historical flashbacks) enslaved people picking cotton. Mostly they are resigned to their fate; it may not be very fulfilling but, except for “Police Violence Story Time,” it’s relatively safe.

That’s not good enough for Keesha Erica Kane Gibbs (Latoya Edwards). Her ambition is to transcend the Blackground and get an Allwhite story of her own, even if it means becoming a victim or a villain: “whichever one works.”

This puts Keesha in conflict with the other Black characters, especially her mother, Nell Carter Gibbs (Tarra Conner Jones), who takes a more conservative approach as she rises from cafeteria lady to nurse and beyond. Also disapproving is Keesha’s D’Angelo-like ex-boyfriend, Tarik Blackwell (Vincent Jamal Hooper), who says she’s “hooked on that assimilation crack.” More fatefully, her schemes set her on a collision course with the Allwhite Writer himself.

In Jackson’s complex and cross-linked encyclopedia of ideas, Nell and Keesha stand for a multitude of distorted representations of Black women in white culture, soap operatic or otherwise. He loves those representations but also loathes them, usually in the same breath; the ambivalence is the motor of the show’s satire, which scathes and kisses.

Nell is the more familiar case: She’s the “Mammy” figure from “Gone With the Wind” and the title character from “Caroline, or Change,” even though they are nothing alike. The 11 o’clock number Jackson gives her, a ringer for “I Know Where I’ve Been” from “Hairspray,” provides the same full-throated thrill (in Jones’s titanic performance) as Motormouth Maybelle’s did in the earlier show, even as Jackson punctures its uplift by recasting it as “That’s Why I Kill.”

And in Keesha’s quest for “an interblacktional bleminist movement that will liberate all Blackgrounds,” Jackson needles the jargon of trauma and revolution — and the bourgeois appropriation of victimhood he suggests it represents. Yet Keesha, as portrayed by the tireless Edwards, is also the eternal spirit of Black advancement spurred by bright young women from Beneatha Younger onward. It is not, we soon learn, just the Allwhite Writer who can’t make up his mind.

If that leaves the characters confusing and hard to follow, well, they can join the club. Everything about “White Girl in Danger” is confusing and hard to follow. In the manner of soap operas, but with an absurdly fast twitch rate, personalities and plots get rewritten without notice. There’s very little for the actors to act except the twitch itself, which quickly grows tiresome through no fault of their own. Since most of them play three or more roles — Liz Lark Brown as all the white mothers, Eric William Morris as all the white boyfriends — they tend to blur into archetypes when they don’t whirl into inconsequence.

Yet somehow the show remains compelling. Not because of the staging, which flags and — other than Montana Levi Blanco’s parade of laugh-out-loud costumes — is visually underpowered. (Even the constantly slamming doors wobble.) From Blain-Cruz and her set designer, Adam Rigg, who in last season’s “The Skin of Our Teeth” delivered many astonishments for the eyes, that comes as a surprise. Perhaps “White Girl,” despite being a coproduction of the Vineyard and Second Stage theaters, could not, on an Off Broadway budget, afford all its ambitions.

What keeps your attention most of the time as you watch, and certainly when thinking about it later, is the bounty and electricity of Jackson’s ideas, which derive as much from his long history as a soap opera lover as from his complex approach to the underlying conflicts of race and gender.

Those conflicts, expressed in “A Strange Loop” through the voice and thoughts of just one character, are distributed more broadly in “White Girl,” a typical sophomore play problem (it’s chaotic and exhausting) but also an opportunity. Whether the opportunity can be exploited without exacerbating the problem, we must leave for future productions to discover. Stay tuned!

It was in any case an opportunity worth taking. A glance at some of the “special thanks” in small type in the program gives you a sense of the fascinating breadth of Jackson’s high-low influences: Jackie Collins, Black musicals, “Fine-Ass Oiled Up Mens,” Soap Opera Digest, “PC/un-PC/woke/anti-woke” story lines, cultural neoliberalism and childhood loneliness.

You can pretty much feel them all in “White Girl,” especially when a figure whose identity I won’t spoil (but is played beautifully by James Jackson Jr., one of the “thoughts” in “A Strange Loop”) arrives near the end as a kind of deus ex mess to untangle the show’s themes. Though that proves impossible, his attempt reminds us that ambivalence of all kinds, about people and love and stories and theater, is not a failure no matter what world you live in. Nor is it a success. It’s a start.

Martin Vidnovic, Rema Webb and James Jackson, Jr. Join Company for TAKING MY TURN in Concert at Feinstein's/54Below

From Broadwayworld:

by BWW News Desk Feb. 17, 2020  

FEINSTEIN'S/54 BELOW, Broadway's Supper Club, presents a first-time ever NYC concert event celebrating the songs from the musical Taking My Turn.The concert will feature George Dvorsky (Scarlet Pimpernel, Passion), Nina Hennessey (Cats, Dreamgirls), James Jackson, Jr. (A Strange Loop), Sally Mayes (She Loves Me, Closer Than Ever), Martin Vidnovic (Oklahoma, Footloose), Alan Wager (Beauty and the Beast), Rema Webb (Escape To Margaritaville, Book Of Mormon), and Karen Ziemba (Bullets Over Broadway, Chicago).David Alpert is Directing, with Music Direction by Jason Wetzel. The evening was conceived by the show's composer Gary William Friedman, and Stevie Holland. Taking My Turn in Concert plays Feinstein's/54 Below (254 West 54th Street) on March 9, at 7PM. There is a $40-$50 cover charge and $25 food and beverage minimum.

Tickets and information are available at https://54below.com/events/taking-my-turn-in-concert/. Tickets on the day of performance after 4:00 are only available by calling (646) 476-3551.

Taking My Turn is the award-winning, critically acclaimed musical with lyrics by Will Holt, music by Gary William Friedman, and adaptation/original direction by Robert H. Livingston, the same team that collaborated on the hit show The Me Nobody Knows.Taking My Turn was one of the first musicals to deal head-on in an unfiltered manner with the accumulation of life's milestones - in other words, aging. The spoken words were collected from interviews with people "in their prime"," which became the basis for the non-linear book.Taking My Turn opened Off-Broadway in 1983 and won the 1984 Outer Critic's Circle Award for Best Lyrics/Music and a Drama Desk nomination for Best Musical. It was subsequently presented on the PBS Great Performance Series.

Taking My Turn cast photo.jpg

A different kind of ‘Downtown’ experience via Mana Contemporary’s Living Room Show

From The Jersey Journal

The latest installment of the quarterly "The Living Room" is a variety show taking place Saturday, Feb. 22, at Mana Contemporary. It's curated by James Jackson, Jr. ( top left in photo composite), who posed the question to performers Adam Enright, Michael R. Jackson, Raja Feather Kelly, Molly Pope, and Elliot Roth: "How many pieces does it take to make a self?"

By David Menzies | The Jersey Journal

Quarterly show “The Living Room” is back at Mana Contemporary, and this time the Saturday, Feb. 22 show is a variety show curated by James Jackson Jr. – whose talents as an actor, singer, and musician have graced the stages of Radio City Musical Hall and Carnegie Hall. As a cabarettist, he’s frequently been able to integrate many of his skills into one dynamic experience for audiences.For Saturday’s show, performers Adam Enright, Michael R. Jackson, Raja Feather Kelly, Molly Pope, and Elliot Roth will be exploring their own takes on questions posed by Jackson:“How many pieces does it take to make a self? Can I do it alone? Do these heels make my art look fat?”A 20-year resident of Jersey City, Jackson is originally from Boston. The theme of exploring the self is not one that he hasn’t done on stage himself.“In my twenties, when I was focused on more musical theater work, and I desperately wanted to ‘be on Broadway,’ I was going into these audition rooms, after waiting in line for hours, and auditioning for people who could not have been more disinterested in who I was,” Jackson said in an interview by email. “How could you remain interested after your sixth hour of the same type of person with the same desperate energy singing the same material over and over? It is very easy to lose who you are on either side of that table.”About a decade ago, when Jackson started producing his own solo work, doors began opening for him. “I learned so much more about myself, my art, and my abilities,” Jackson said. “If a self is just a reflection of what the world sees and how you feel about that reflection, why would you ever try to be someone other than yourself? Sounds weird and wordy, and even flighty. But putting myself at the center of my own art, made me much more comfortable walking into situations where I had to attempt to use my art to get a job on someone else’s terms.”Exploring what comprises the person they’ve become may seem like particularly vulnerable territory, but to Jackson, that’s there any time someone gets on stage. And it’s a good thing."The person on stage bringing themselves to you in story or song or joke or dance, and you in the audience having to listen, watch, and absorb. It’s creating the most vulnerable and personal of situations and we don’t do it enough in our everyday lives,” Jackson said.“Seeing these smaller, more personal, or ‘Downtown’ experiences – as they would be called in Manhattan – is where, I believe, some of the best art can be found,” Jackson continued. “Vulnerability is the truth. It can be both very hard to share the truth and it can be very hard to hear it. But isn’t it the coolest thing when those two events get to happen? The performers and creators in this cabaret, ‘Downtown’ performance art world tell such beautiful truths, and they know that audiences are not dumb. Audiences are craving the truth. On the other side, there are people that want to escape into the often sugar-coated, Disney-fied world of Broadway, but what about the rest of us? I’ll take some truth any day.”Jackson admires the way this line-up of performers have managed to hang on to a sense of community. In addition to “being some of the most amazingly talented, truth-telling, soul baring performers I’ve ever watched, they have all in some way worked together over the past several years," Jackson said. "While being such individual creators, each of their paths have crossed artistically as well as personally in such a beautiful and supportive way, it makes me giddy with the idea that their collective energies get to be showcased in one evening.”Jackson’s professional life has been centered in Manhattan for as long as he’s lived in Jersey City, and in that time, he said he has friends based in NYC who’ve never visited him “because it’s ‘so far,’ and ‘well…it’s Jersey.”“It’s, always been very weird to me,” Jackson said. “ The wonderful growth that Jersey City has undergone in the last 20 years shows exactly how many different people working together can exact change. When people ask me where I’m from originally, I always say Boston,’ which is true. ... I have even had people look at me and say ‘Oh … I’m sorry’ or ‘Wow, and you made it out OK?’ There’s an expectation that a gay, black man who grew up in the 80s on the south shore of Massachusetts, about 15 minutes outside the city of Boston, must’ve really ‘been through something.’ I think people have assumptions. Assumptions about Jersey City and assumptions about Boston. People have had assumptions about my art and who I must be. What better way to help them, than show up, do the work, and be myself?”

Tickets to “The Living Room” variety show curated by James Jackson Jr. are $10 (free for Mana Contemporary members) and can be bought online https://www.eventbrite.com/e/the-living-room-variety-show-curated-by-james-jackson-jr-tickets-91339325381. Doors open at Mana Contemporary, 888 Newark Ave., Jersey City, at 7 p.m. for a reception, followed by performances at 7:30 p.m. The show lasts until 9 p.m. and includes a 15 minute intermission.

Mana Contemporary All Cast Photo.jpg

Mana Contemporary Arts: "The Living Room" a Variety Show hosted by JJJr

So, here’s something new. I have been asked to curate an evening at a wonderful art museum in Jersey City called Mana Contemporary. I reached out to some of my favorite creators, and I can’t believe they all agreed to be a part. Mana Contemporary is doing great things already in Chicago, Miami, and Jersey City, and I could not be more thrilled to be welcomed into their family to bring them these folks. Come out Saturday, February 22 at 7PM to see me, Michael R. Jackson, Molly Pope, Adam Enright, Raja Feather Kelly, and Elliot Roth.

The Living Room” is a monthly event at Mana Contemporary featuring some of the best art and artists in the area. It’s also FREE if you register online as a museum member. Come out and have all of the wine, and see this amazing lineup!!!

Mana Contemporary All Cast Photo.jpg

Theatre Communications Group Gala 2020

Y’all…I got to sing at the TCG Gala this week. It was a lovely evening honoring The National Black Theater Festival in Winston-Salem, North Carolina, and also playwright David Henry Hwang (Soft Power, M Butterly). I sang “Memory Song” from A Strange Loop, which I hadn’t sung it years. And also, a little known fact….David Henry Whang wrote a song with Prince (yes, Prince) in the 1990s. It’s called “Solo”. I got to do that at the end of the evening too. This was a super fun evening for a great organization!!

American Theatre wrote a great article about the evening, that has some great pics too!! Check it out!!

Here’s a video of “Solo” too. What a fun night!!

Performed at the Theatre Communications Group Gala 2020 held at The Edison Ballroom in New York City.

"A Strange Loop" - Photos & Such

Just a quick slideshow of some of the amazing folks who came to see “A Strange Loop” at Playwrights Horizons this summer. Just click a photo —-

That Time I Met Judith Light

“I will follow, follow my Judith Light through the darkness".

Photo Coverage: Judith Light and Tony Kushner Honored With DGF Madges Evans & Sidney Kingsley Awards

On Monday, March 18, DGF hosted a Salon at the Lambs Club where they presented actress Judith Light and playwright Tony Kushner with the DGF Madge Evans & Sidney Kingsley Awards. Former DGF Fellow, Oliver Houser, was also presented with the inaugural DGF Stephen Schwartz Award. The evening featured performances by Michael R.

"A Strange Loop" is finally happening at Playwrights Horizons

I can’t believe I get to be a part of this magic. I cannot wait to put this baby on stage. Y’all are NOT ready!

Michael R. Jackson's A Strange Loop Finds Its Off-Broadway Cast | Playbill

Michael R. Jackson's Off-Broadway News A Strange Loop Finds Its Off-Broadway Cast The new musical, a look at the innermost thoughts of a queer, Black musical theatre writer, will have its world premiere at Playwrights Horizons. The upcoming Off-Broadway Playwrights Horizons world premiere of Michael R. Jackson's A Strange Loop has found its cast.

on the cape

Having grown up in Boston, I understand that there is a long-running joke that only five black people are allowed on Cape Cod at a time. Walking the main, back, and side streets of Provincetown, the creative part of me thinks about what is in-town and is called "art".  Another part of me thinks about what is on the beach and is called "beauty".  I have never longed to be part of the circuit.  And I have been making peace, for some time now, with the fact that the circuit has never longed for me to be a part of it. 

I think about Zora Neale Hurston, carving out her world with an oyster knife.  Being too busy to care what their world is doing.  The last time I was here, I read Tennessee Williams and Amistead Maupin.  Having always felt connected to their style of writing, and to my own grapplings with the history they were allowed, I wonder what a sense of community like that would do for the men who look like me?

I would go ask the other four black people on the Cape this weekend, but I'm trying to be on vacation.  

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