MJ
“Money, money, money” is the reason, we are told, that Michael Jackson reunited with his siblings for the Victory Tour in 1984. Money is clearly the motivation behind the splashy new Broadway musical MJ. This wildly talented and emotionally complicated entertainer has been placed back into his adoring spotlight. The show, if not perfect, is an absolute feast.
Whether you get indigestion will depend on your sensibilities. The woman sitting next to me was back for a third time in previews. She excitedly chatted with random seatmates before the show. When another woman brought up the child molestation “stuff” she bristled away any reckoning of those inconvenient details. Such must also be the mindset of everyone involved in this production. While there are vague references to “the lies” spread about Mr. Jackson, MJ is clearly an adoration and rehabilitation vehicle. How this particular story is not subject to any accountability in today’s environment must be shoved aside to let the artistry take full control.
So let’s just chalk everything up to “the price of fame” which is the reason (excuse) given for all of his famously endearing and also bizarre quirks. His father takes the brunt of the blame. He tells young Michael that his face has “more bumps than a pepperoni pizza”. A press conference only goes as far as to ask, “what do you have to say about the recent allegations”?
The conceit of the show is a terrific one. Michael is preparing for the Dangerous Tour circa 1992. MJ opens at a rehearsal. The warm ups prior to the King of Pop’s arrival are authentically staged and beautifully tease for the main course. When he finally enters after a countdown (3 minutes!), Myles Frost takes all of one second to convince you he is the “Man in the Mirror”. That his performance afterward is a thrilling tribute makes this show soar.
After a great opening which incorporates a run through of “Beat It” the show settles into some exposition. The 60’s medleys followed by the Jackson 5 medleys are decent but placeholders for what is to follow. Young Michael (Walter Russell III) hints at the megawatt star which is to emerge. The fringe vest will be vividly memorable to anyone who remembers the early Jackson 5 television appearances.
The family life is hard work primarily due to Joseph, the father and driven disciplinarian. Michael and his mother (Ayana George, excellent) share the first act showstopper “I’ll Be There” which is the emotional center of the story. After that, Michael’s external and internal pressures mount considerably.
The creative and artistic revelations are intriguing and expertly woven into the book by Pulitzer Prize winner Lynn Nottage (Ruined, Sweat). The analysis discussed with Quincy Jones gives insight into the hitmaking process. At intermission, read the scribblings on the curtain. The influences are shared and the homage to dance masters Michael emulated is another high point in the storytelling.
Both older Michael and “middle” Michael (Tavon Olds-Sample) embody this larger than life character with real shading and gravitas. For those seeking extraordinary dancing, Director and Choreographer Christopher Wheeldon will keep your eyes peeled to the action. “Smooth Criminal” was one of my favorite music videos and the staging does not disappoint.
Quentin Earl Darrington portrays both the tour manager and the father. The interweaving of these two authority figures and the transitions between them is first rate. The direction, the performance and the juxtaposition between his relationships with younger Michael and older Michael are the juicy meat of this tale.
On the other end of the spectrum is the story of the reporter and the camera man who are filming a documentary of the tour rehearsal. Far too much time is spent on this often cringeworthy sidebar which feels like an attempt to cull something “real” out of the hero worship. Abusing painkillers are not off limits in this version.
And let’s get back to the heart and spirit of MJ. Mr. Frost is sublime. He completely embodies the dance and vocal stylings of this pop icon. His physicality is shockingly accurate. What blew me away most were his riveting eyes; always searching, forever on guard, occasionally playful, uncomfortably darting this way and that without ever being settled. It’s a “Thriller” of a performance in more ways than one.
MJ, the young man from Gary, Indiana, went on to become one of the most worldwide recognized and significant entertainers of the twentieth century. I found it amusingly surreal that “Gary, Indiana” is also currently represented on Broadway with another Music Man, the Meredith Wilson revival opening this month (that review is forthcoming). I saw both shows two days apart. Despite all of the COVID inconveniences right now, isn’t it nice to see Broadway ushering in spring early?