NEW YORK, NY.- “A Strange Loop,” the winner of this year’s Tony Award for best musical, will close on Broadway on Jan. 15, after a short run that reflects the industry’s ongoing pandemic-related struggles and the challenges of marketing an unconventional musical that wrestles with complex themes.

The musical, a meta-theatrical story about an aspiring musical theater writer who is writing a musical about his struggles to find his way professionally and personally, has been a triumph in many ways — a first show by a previously unknown writer, Michael R. Jackson, it was hailed by critics as soon as it opened off-Broadway in 2019, won the 2020 Pulitzer Prize in drama, and then, after opening on Broadway in April, picked up Tony Awards in June for best musical and best book of a musical.

But its run will be unusually short for a best musical winner in recent years, when the prize has often had more box office impact.

At the time of its closing, “A Strange Loop” will have had 314 total performances, including 13 previews. That is significantly fewer than for other recent winners with modest runs, including “Fun Home,” which won the award in 2015 and closed after 609 total performances; “The Band’s Visit,” which won in 2018 and closed after 624 total performances; and “A Gentleman’s Guide to Love & Murder,” which won in 2014 and closed after 935 total performances.

All three of those shows recouped their capitalization costs. A spokesperson said it is not yet clear whether “A Strange Loop” would recoup its capitalization costs, which a filing with the Securities and Exchange Commission said were $9.5 million.

“A Strange Loop” was a passion project for Jackson, who labored on the musical for more than a decade. Inspired by his own experiences, the musical tells the story of Usher, who is working as an usher while writing about his own life, while also struggling with his family’s homophobia and with the racism and sizeism he encounters in the gay community.

The show — which markets itself as “the big, Black and queer-ass Great American Musical” — is more sexually and emotionally frank than most Broadway musicals.




The musical saw a bump at the box office after winning the Tony Award, playing to sold-out houses for two weeks with grosses peaking at $860,496 during the week that ended June 26. But grosses have been sliding since; during the week that ended Oct. 2, it grossed $579,354 and played to houses that were 79% full.

Jackson said in a statement that he felt “blessed to have had the opportunity to share this raw, vulnerable and personal story with the world and to have connected with so many enthusiastic, loving audiences.”

Broadway had been enjoying a yearslong sustained boom before the coronavirus pandemic, but like many other performing arts forms it has been struggling to rebound following the lengthy shutdown of theaters. The industry has been challenged not only by concerns about public health, but also by diminished tourism in New York City, the slow return of office workers to midtown, a worrisome economy and, possibly, changing entertainment habits.

During the 2021-22 Broadway season — a short season because most theaters remained closed during the summer of 2021 — 6,729,143 people attended Broadway shows, down from 14,768,254 during the 2018-19 season, which was the last full season before the pandemic. Annual Broadway grosses dropped from $1.8 billion to $845 million over that time period.

The industry’s softness appears to be ongoing. During the week that ended Oct. 2, there were 25 shows running on Broadway, attended by 209,668 people and grossing $25,208,583. During the comparable week in 2019 — the last comparable week before the pandemic shutdown — there were 33 shows running, attended by 261,793 people and grossing $30,098,714.

The struggles have contributed to a number of closings. Most significantly, “The Phantom of the Opera” has announced that it plans to close Feb. 18, concluding a record-breaking 35-year run on Broadway. Two more modest hits, “Come From Away” and “Dear Evan Hansen,” also closed recently, and a strong-selling revival of “The Music Man” plans to close on New Year’s Day.

New Yorkers will have another chance to see Jackson’s work next year. His new musical, “White Girl in Danger,” is scheduled to have an off-Broadway run next spring at Second Stage Theater, which is producing it jointly with Vineyard Theater.

This article originally appeared in The New York Times.