MJ The Musical/Broadway 2020

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@andjustice4some
5 shows sold out already

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jacksonevreni
@jacksonevren

A comment on #MjTheMusical

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Keen Zhang
@mkgenie

#MJtheMsical so sad I can’t be there at the opening show due to COVID restrictions in China. But a Chinese fan and friend managed to be there and told me it is the BEST show ever since #MichaelJackson passed away. A lot better than Cirque shows! And it has the soul of MJ.

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Great to discover that Prince Jackson and Omer Bhatti attended the
@MJtheMusical
in NYC last night - another sold out showing!

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https://deadline.com/2021/12/broadway-b ... 234891172/

Broadway Box Office Up 16% To $31M; Michael Jackson Musical ‘MJ’ Begins Previews
By Greg Evans

Greg Evans
Associate Editor/Broadway Critic


Broadway Box Office Up 16% To $31M; Michael Jackson Musical ‘MJ’ Begins Previews
Five Man Electrical Band’s Les Emmerson Dies: Singer-Songwriter Of 1971 Hit ‘Signs’ Was 77
‘Freestyle Love Supreme’ Canceled Monday Show, Announces Lin-Manuel Miranda Appearances; ‘Mrs. Doubtfire’ Cancels Additional Performances –
December 14, 2021



Broadway box office rebounded last week from the previous week’s post-Thanksgiving dive, with the fattened roster of 32 shows taking in a total of $30,533,809 for the week ending Dec. 12. The figure represents a boost of about 16% from the previous week.

Total attendance was up a commensurate 14% to 240,602, with an average ticket price of $127 roughly in keeping with previous weeks.

The increase also reflects the return of David Byrne’s American Utopia following a previous week of cancellations (non-Covid-related illness), as well as the post-shutdown return of Dear Evan Hansen and the arrival on Dec. 6 of MJ, the Michael Jackson musical, now in previews.

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King Of Pop On Spotify
@MJJSpotify2015

MJ : The Musical UPDATE!
5 preview shows so far
5 preview shows all sold out.
Box office UP over 16% with $31M already in. WOW

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https://www.showbiz411.com/2022/01/07/f ... t-do-it-in

First Look: “MJ,” The Michael Jackson Musical, Poised to Be a Major Hit if the Pandemic Doesn’t Do It In
■Theater
by Roger Friedman - January 7, 2022 12:23 pm
0 1417

I took myself over to the Neil Simon Theater last night to see “MJ,” The Michael Jackson musical. It opens February 1st so this is not a review, it’s just notes from the show.

I checked the Ticketmaster site and saw that there were plenty of tickets. Indeed, i bought one at the window an hour before showtime. I’d been told that even though advance sales were iffy, there was a lot of walk up business. I was skeptical about that but the evidence was there. On a freezing cold night, with the pandemic hovering, and snow in the forecast, there were people online at the box office.

I bought a cheap seat in the mezzanine, but the nice lady in the box office moved me down a few roles. (Thanks!) The young woman who sells the merchandise downstairs told me sales were good. “People really like it,” she said.

An hour earlier, I had a bite to eat down the street at the Cosmic Diner, one of my favorite spots in the theater district. It was fairly empty, not what you’d expect on a Thursday night before theater. When I told the host I was seeing “MJ,” he told me a lot of the cast came in and out and that he really liked them, he could tell it must be a good show.

“MJ” is written by Pulitzer Prize winner Lynn Nottage and directed by Christopher Wheeldon. The sets are from Derek McLane, a Tony winner who is also married to the show’s producer Lia Vollack. (May I suggest they fix their Playbill so the names are larger and in bold face? They’re microscopic now.) These people are all heavy hitters, they’re at the top of the Broadway heap. They know what they’re doing.

There are three Michael Jacksons in this show: the adult circa 1991, played by Myles Frost, a teenager (Tavon Olds-Sample), and two kids playing Little Michael. I was hoping to see Walter Russell III, but I saw his alternate, Christian Wilson (who was very good). The book, by Nottage, is not linear. It jumps back and forth in time so sometimes Frost is on stage by himself, and often he and his younger selves are handing off to each other on stage,

The conceit is that MJ is rehearsing his “Dangerous” tour and that MTV has sent a documentary crew to record the action. This sounds plodding, but Nottage has used this device to let Michael essentially narrate his own life story up to that point.

“MJ” doesn’t go beyond these rehearsals. It’s a celebration of Jackson’s music from childhood through “Thriller,” “Bad,” and “Dangerous.” There’s some personal history and discussion of Michael’s growing addiction to pain killers because of the burns he suffered filming a Pepsi commercial. Michael is shown alternately as charming and demanding. He is also diffident on the subject of expenses. The one time Nottage grapples with harsh realities is when she shows an abusive and ambitious Joseph Jackson, who actually hits little Michael in the first fifteen minutes. She has to, we have to know what Michael is dealing with to get to this point in his life.

I was really knocked out by two of the supporting players, Ayana George– who plays Katherine Jackson– and Quentin Earl Darringon, alternately Joseph Jackson and Rob, the tour producer. They are standouts in a very talented company. The choreography is actually exciting, and you can tell that Wheeldon– whose wheelhouse is ballet– has worked to reimagine Jackson’s trademark dance moves so that this isn’t just a tribute show, it’s theater and dance on a very high level.

In the end, the whole show rests on Myles Frost, who’s got to sound like Michael Jackson without seeming like a Las Vegas impressionist, dance like him (which does not look easy), and convey a sympathetic character who we know, many years later, will meet a terrible end. Frost’s work here reminded me of Adrienne Warren’s Tony performance in the Tina Turner musical. There’s a reason why the audience– which was sparse– leapt to their feet at the end of the show.

“MJ” isn’t ready for an official opening yet, but it’s in good shape. If the Omicron doesn’t do any more damage, “MJ” could be a major hit. My only qualms: Berry Gordy did not discover the Jackson 5, that was Gladys Knight and Bobby Taylor. The current scenario has some girl coming to “BG” to tell him about them. Nottage has got to fix that. And I would urge the producers to look at the lyrics of “They Don’t Care About Us” and make some edits. While the staged number is impressive, the audience may not appreciate some of the sentiments. We never did.

But boy, it was great to be back in a theater and hear live music, see people on stage. If you wear a mask, and you have your proof of vaccination, you’re all set, and it’s very safe. And this is a good time to get into this show. After it opens, it may not be so easy.

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Mark Sykes Blue heart
@syko77

I saw MJ The Musical last night and it was sensational!! Totally blown away by the interpretation of Michael's story. The staging was incredible; the cast, choreography & band simply Fire. Here's my video of last night's curtain call. Theatre is back! Performing artsMultiple musical notes
https://youtu.be/a_JJbgvfDR4

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THE FOLLOWING ARTICLE MAKES ME SO DAMNED MAD. I have given a spirited reply, let's wait and see if they publish my comments.


https://www.dailymail.co.uk/news/articl ... -past.html?

Michael Jackson show opens on Broadway with single throwaway mention of singer's 'pedophile' past: MJ the Musical is set a year before first child sex abuse claims emerged, with writer questioning if some accusers were telling the truth
Fans can already buy tickets to the show, which officially opens on February 1
The jukebox musical mostly takes place in 1992 as Jackson rehearses for the Dangerous Tour
Reviews say there's a single mention of the child abuse allegations against Jackson
Playwright Lynn Nottage has flip-flopped on whether she believes the allegations against him
Jackson's estate, which produced the show, is still embroiled in a lawsuit against HBO after the channel aired a documentary featuring two accusers in 2019
A fan review says the allegations are mentioned in a throwaway line by one of Jackson's managers: 'Who the hell is this family he wants to bring on tour?'
By ADAM MANNO FOR DAILYMAIL.COM

PUBLISHED: 02:54 GMT, 11 January 2022

A hotly-anticipated Broadway musical about Michael Jackson makes only a throwaway mention of the singer's alleged pedophile past - with one of its writers even questioning whether two of the singers' accusers were telling the truth.

MJ: The Musical, which began previews at the Neil Simon Theater on December 6, is set in 1992 - the year before allegations against Jackson emerged in public, but well after he'd met at least one of his accusers.

The show which runs for two hours and 30 minutes, barely makes mention of Jackson's sordid past. Reviews of the show say the allegations were addressed in one simple throwaway line delivered by one of Jackson's managers: 'Who the hell is this family he wants to bring on tour?'

One tweeter was skeptical about a musical lionizing the alleged child abuser, writing: 'way to celebrate a pedophile,' while another Twitter commenter suggested that Jackson, who died in 2009, is simply too big a figure in pop culture to cancel.

Meanwhile, she show's writer Lynn Nottage has flip-flopped on whether she believes the claims Jackson is an abuser, saying she felt two of his accusers were truthful in 2019, only to query whether their claims were accurate in a separate interview weeks later.

In 1986, the singer met James Safechuck, a 10-year-old boy who appeared with him in a Pepsi ad. Safechuck would later go on to recount his allegations of sexual abuse against the pop star in the HBO documentary Leaving Neverland.

By 1993, a year after the Dangerous Tour kicked off, Los Angeles police was already investigating claims that Jackson molested four children.
The musical was written by two-time Pulitzer Prize winner Lynn Nottage and directed and choreographed by Christopher Wheeldon.

It is produced by Jackson's estate and Columbia Live Stage and features 37 songs from the singer's iconic catalog, though it mostly focuses on the music up to the 1992 Dangerous Tour, the main setting of the show.

'The show is very much anchored in one particular moment in time,' Wheeldon told Playbill in 2018.

'I always bring up the fabulous movie that Spielberg made about Lincoln: You take one key moment, I suppose, in the history of someone’s life and then sort of use that as an anchor point for past storytelling and, perhaps, some kind of prophecy of what’s to come. We'll be doing that with this story.'

It stars Myles Frost as Jackson and Quentin Earl Darrington as Joseph Jackson. Frost joined the cast in June after Ephraim Sykes left to film a movie, according to Deadline.

Tickets for the show range from $59 to as high as $225 for orchestra seats.

In 2019, Nottage told the Daily Mail that she believed Safechuck and Wade Robson, who detailed his allegations alongside Safechuck in the extensive HBO documentary, were 'telling the truth' - but just days later she queried the veracity of men's allegations in a separate interview.

Speaking to the New York Times, she said: 'Were they ultimately telling the truth? I cannot 100 percent say so, because I'm not judge and jury, and it’s not my place to do that.'

During the course of the four-hour film, Safechuck and Robson offered explicit details about the years-long abuse they say they suffered at the hands of Jackson, during which the singer would allegedly gain favor with the boys' families by arranging for them to travel with him.

The film accuses the King of Pop of even staging a mock wedding complete with vows and a diamond ring with Safechuck.

Wade and Robson both claimed they were molested by the singer in his expansive Neverland ranch in Santa Barbara County, California.

'Michael tried to penetrate me in my anus with his penis, trying for a while, and I guess was able to a bit, but it was really painful, too painful for me, so he stopped,' Robson said, adding that he was 14 at the time.

When asked if Jackson's estate would let her explore Jackson's life in full, Nottage said: 'I hope so. I think it would be a dishonor to the complexity of who he is and the situation [he was in] to gloss over everything. But how we do it, I don't know.'



Asked if he believed the allegations, director Wheeldon said: 'The recent documentary is very believable, but our position in making this show is that we're trying to make a show that’s balanced. So I don't know that I have a definitive answer for you.'

The pair told the newspaper that the singer's estate did no interfere in the writing process or prevent them from speaking about certain issues.

The estate sued HBO for $100 million alleging that the documentary violated a 27-year-old non-disparagement clause from a 1992 concert film from the Dangerous tour - the same tour depicted in the new musical, according to NBC News.

In December 2020, an appeals court sided with the Jackson estate and ruled that the dispute would have to be taken to private arbitration based on the contract.

Recent reviews for MJ: The Musical seem to indicate the show almost completely avoids sexual abuse allegations against the singer.

A review published Friday in Showbiz 411 describes the show's non-linear plot, which jumps around Jackson's life but mostly focuses on the plot device that an MTV crew has been sent to document Jackson's rehearsal for the 1992 Dangerous Tour.

'MJ doesn’t go beyond these rehearsals,' the website said, adding that the show is in 'good shape' ahead of its official February 1 opening but makes no mention of any sexual assault allegations.

A New York Times review published last month says: 'How would the show grapple with allegations that the pop singer molested children?

'The answer: It doesn’t.'

The show does portray Jackson's abusive father Joe, who is shown hitting him, as well as the singer's reliance on prescription painkillers, but it doesn't appear to touch on the allegations facing the late King of Pop himself.

A review on the fan site MJ Vibe described the extent of the show's mention of abuse.

'The allegations and prescription drugs use were there, and within the context of the show, these were important and were neither dismissed nor dwelled upon. The allegations were addressed in a simple exasperated one line to Michael "…. And about this family you want to take on Tour…".'
The New York Times says the line was delivered by one of Jackson's managers and actually went: 'Who the hell is this family he wants to bring on tour?'

Another scene that takes place at a news conference features a reporter asking, 'What do you have to say about the recent allegations that you,' before they are cut off.

In August 1993, police found no incriminating evidence in Jackson's Neverland ranch or in his Los Angeles home after they investigated allegations that he molested four children, including a 13-year-old boy called Jordan Chandler, according to NPR.

The next month, Chandler's family sued claiming that Jackson 'repeatedly committed sexual battery' against the boy. CourtTV later revealed that Jackson settled the suit for around $23 million, NPR reports.

In 1994, prosecutors decided not to file criminal charges against Jackson in a case involving three boys because the 'primary alleged victim' declined to testify.

Police arrested Jackson on child molestation charges on November 20, 2003. He surrendered his passport and posted $3 million bail.

He was indicted on 10 criminal counts, including child molestation, abduction, false imprisonment and extortion, but was eventually acquitted in 2005. He died in 2009 at the age of 50.

His doctor Conrad Murray was later found guilty of manslaughter for prescribing Jackson the anesthetic propofol, NPR reports.

Jackson's dedicated fanbase, amassed over the course of a decades-long career that spanned 10 solo studio albums, has been known to go to bat for the late singer, criticizing those who bring up allegations of sexual abuse against him.

'I would ask that the fans be respectful to the process, and trust us as artists,' Nottage, the writer of the show, told the Times back in 2019.

'And I do in some ways feel up to the challenge of telling this story, as scary as it is, because of the great divide that exists. But, in this day and age, I feel like if we as artists run away from complexity, then who are we?'

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Michael Jackson

There is a long-standing tradition, called the Saturday Night Scream, at the Neil Simon Theater and August Wilson Theater across the street – every Saturday night the casts of both shows come out and cheer each other on and wish them a good show. With COVID, they now shout through open windows to each other. Check out MJ: the musical and Slave Play carrying on the tradition.
Previews continue and the show has its official premiere February 1st at the Neil Simon Theater. Get your tickets now: https://mjthemusical.com/tickets/
#MJtheMusical

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February 1st, 2022. #princejackson and #parisjackson attended "MJ" The Michael Jackson Musical Opening Night at Neil Simon Theatre on #broadway in New York City.

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https://www.newyorktheatreguide.com/rev ... way-review

'MJ The Musical' review — a flawless tribute to a flawed icon



Michael Jackson, one of the most beloved and influential musicians of all time, chased perfection his entire existence. It’s unfortunate he is not alive to witness the flawless production of MJ the Musical, a model biographical musical now open at the Neil Simon Theatre on Broadway.

Under the exemplary direction and choreography of Christopher Wheeldon, the production gives context to Jackson’s inherited demons and zooms in on his daunting creative process and peerless genius. MJ is the platinum standard the often-uninspired, generic jukebox musical could benefit to emulate.

The musical doesn't tell his full life story. The book by two-time Pulitzer Prize winning playwright Lynn Nottage narrows in on Jackson’s Dangerous Tour rehearsals in 1992 — well before allegations of child molestation charges against Jackson arose. With the Jackson estate on the production team, Nottage has fixed this musical’s lens on the stories the artist told through his music. Jackson’s troubled childhood, pain, and loneliness fueled creativity and inspired the lyrics he wrote.

Nottage’s brilliant book gives the character of Jackson depth, and Myles Frost (who plays the eldest of three MJs who share the role) embodies the musician’s complex persona. With every “hee-hee” and pelvic thrust, one can almost forget they're not seeing the King of Pop before their eyes. It’s not easy to sing a Jackson song or move with the late star’s precision, flexibility, and finesse. Many American Idol auditions have proven this true. But here, Frost has immersed himself into the spirit of Michael Jackson, producing distinct parallels to the icon’s childlike behavior, restlessness, and paranoia.

Frost gives this show not only his divine voice, but also a nuanced performance that humanizes the flawed superstar. In fact, all three generations of MJ exceed expectations. Little Michael (a talented Christian Wilson at the performance I saw) and young adult Michael (a fierce Tavon Olds-Sample) work together in seamless transitions to tell the full story of Jackson's early years.
Both Quentin Earl Darrington (Once On This Island), and Ayana George (Broadway debut), who play Joe and Katherine Jackson, respectively, give powerhouse vocal performances. George especially shines during “I’ll Be There,” an affectionate duet with Little Michael. Though one can read Katherine as an enabler to Joe’s rampant physical and emotional abuse, this number gives a tender softness to her love and vowed protection of Jackson.

Darrington also plays Rob, Jackson’s trusted tour manager. The smooth and swift changes between a man Jackson fears and a man he trusts give scene transitions delicate density.

Musical numbers like “They Don’t Really Care About Us,” “Human Nature,” “Stranger in Moscow,” and “Thriller” are the show’s highlight reels. The numbers are filled with Wheeldon’s masterful choreography, blending modern dance, Jackson’s iconic moves from the 90s, and deep, soul-stirring storytelling of the artist’s triumphs and tribulations. The dance ensemble delivers paramount performances that leave an imprint on the memory. This team is a true tour-de-force.

In the audience, some longtime fans sang along and cried, others who never experienced Jackson live remained mesmerized, and even a few skeptics cheered thunderously. They’d gasped loudly every time Frost changed a jacket or put on the iconic bedazzled glove.

Paul Tazewell’s magnificent costume design carries the cast through the MJ timeline seamlessly. A killer set by Derek McLane, amplified by gorgeous lighting by Natasha Katz, gives the show a visual beauty that makes it hard to look away.

While Jackson's story is flawed, it’s too complicated for anyone who hasn’t danced in his shoes. MJ The Musical, however, is the perfect salutation to the life of an imperfect but gifted icon.

MJ The Musical is at the Neil Simon Theatre. MJ The Musical tickets will be available on New York Theatre Guide soon.

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Michael Jackson
Reverend Al Sharpton
@TheRevAl

At opening night of the Broadway musical MJ. It’s a musical about my friend, Michael Jackson. It brought back a lot of memories about his musical genius. I ran into Actor Mario Van Peebles.

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Another 'gutter press article'. They are going to eat their words eventually. They're going to be pissed when they see how many awards it takes.


https://www.dailymail.co.uk/tvshowbiz/a ... sage-field

'The absence of the biggest story is so jarring': Critics of Michael Jackson's 'sanitised' new musical say the show - produced by HIS estate - conveniently swerves child abuse topic... as stars flock to watch production in an age of cancel culture
MJ critics have homed in the show separating 'art from the artist' and ignoring the child sex abuse allegations
MJ: The Michael Jackson Musical opened at the New York Simon Theatre on Broadway on Tuesday night
Despite living in the age of cancel-culture, celebrities including Michael's children Paris and Prince, director Spike Lee and broadcaster Tamron Hall flocked to theatre land to watch the estate-produced show
Most if not all of the reviews agreed that MJ tells the story of Jackson - but 'avoids the big story'
The Telegraph notes one 'oblique' reference to his relationship with children during the build up to the tour
The New York Times critic said that the references to the allegations against Jackson were 'understated'
By CHARLOTTE DEAN FOR MAILONLINE and MELISSA KOENIG FOR DAILYMAIL.COM

PUBLISHED: 12:15 GMT, 2 February 2022

Critics have slammed the new Broadway musical documenting the incessant rehearsals before Michael Jackson's 1992 Dangerous Tour - set a year before the first child abuse allegation against him - for skirting the allegations that have overshadowed the King of Pop's career.

The musical, MJ, written by Pulitzer Prize winner Lynn Nottage of Ruined and choreographed by Christopher Wheeldon is produced by Jackson's estate with an apparent promise not to mention the young boys who accused the star of sexually harassing them.

It features Jackson, played by Myles Frost, preparing for his four-continent Dangerous Tour while dealing with an MTV documentary crew who film his incessant rehearsals as he sings hits like Thriller, Billie Jean, Don't Stop 'til You Get Enough and Smooth Criminal and yells at his back-up dancers to work harder.

Throughout the musical, fans get glimpses into the life of the artist, with flashbacks of his childhood singing with the Jackson Five and being abused by his father.

MJ debuted at the Simon Theatre on Broadway on Tuesday night, drawing celebrities including Michael's children Paris, 23, and Prince, 24, director Spike Lee and broadcaster Tamron Hall, despite the prevalence of cancel culture.

But theater critics have railed against the musical, noting in various outlets that the show seeks to separate the 'art from the artist' while conveniently ignoring the child sex abuse allegations that overshadowed Jackson's career.

Many of the reviews - including one for the New York Times- mentioned the fact that Jackson's estate were involved in producing what was essentially an 'authorized autobiography', which is why the story featured such watered-down references.

The Telegraph notes there was just one 'oblique' reference to his relationship with children during the build up to the tour, when his manager questions: 'Who the hell is this family he wants to bring on the tour?'

The critic writes: 'It's an odd moment in a show which veers towards the hagiographic, with its central character a rather bland protagonist.'

However Deadline mentions that it it is not made clear what the business manager is worried about, whether it is from a financial standpoint or more personal worries.

Adding: 'Within the musical's universe, the closest MJ comes to confronting the topic is a vague reference to a family being invited on tour with the singer, but even that comment is open to interpretation: Is the business associate raising the issue merely worried about the expense of additional people on tour, or is he fretting about putting a young boy in such close proximity to the star? Is the reference's sense of foreboding rooted in concern for victims of child abuse, or for a victim of scheming blackmailers? MJ's unspoken response: Decide for yourself.'

Most if not all of the reviews agreed that MJ tells the story of Jackson - but 'avoids the big story'.
'It feels as if it was co-authored by a lawyer for the Jackson estate': New York Post says the musical 'skips over the most dramatic parts of his life'- including the child sex abuse claims

Writing for the New York Post on Wednesday, Johnny Oleksinski said MJ: The Musical seeks to sanitize the life and times of the artist.

'The troubles over at MJ: The Musical, the new show about Michael Jackson that opened Tuesday night on Broadway, are much bigger than the controversy surrounding its subject — although the two are closely connected,' he began.

'While the lifeless script is written by Pulitzer Prize winner Lynn Nottage of Ruined, the pat dialogue feels as if it was co-authored by a lawyer for the Jackson estate — one of the producers — with Wite-Out and a Sharpie.'

He continues to write: 'We learn next to nothing about a deeply fascinating figure other than a surface-level examination of his difficult childhood during the Jackson Five days with monster dad Joe Jackson (Quentin Earl Darrington, who also plays tour manager Rob) and how that informed his tireless worth ethic.

'In skipping over the most dramatic parts of his life, Nottage seeks to disconnect the artist from the art. That’s been successfully done before with Jackson: in Cirque du Soleil’s music-centric show Michael Jackson: One in Las Vegas and Thriller in London.'



Michael Jackson's children Paris, 23, Prince, 24, and Blanket, 19, make it a family affair at star-studded opening night of Broadway's MJ: The Musical in New York City
Michael Jackson's children Paris, Prince, and Blanket gave the seal of approval to a new show dedicated to their father as they attended the star-studded opening night of MJ: The Musical at the Neil Simon Theatre in New York City on Wednesday evening.

The extravaganza follows Jackson, played by Broadway newcomer Myles Frost, as he prepares to embark on his now-iconic Dangerous world tour, which spanned from 1992 to 1993 - grossing $140million across 69 shows.

While Myles - a relative unknown - received warm reviews for his performance as Jackson, the show has attracted criticism for its 'sanitised' tale of Jackson's early '90s Dangerous years, during which he was dogged by allegations of child abuse - a subject the new musical avoids.

Despite vowing to give up touring, Jackson confirmed he would follow the release of his fourth solo album with a globe-trotting series of shows to raise funds for his Heal the World Foundation in 1992.

The charity was set up by the singer to provide medicine to children and fight world hunger, homelessness, child exploitation and physical and sexual abuse, with Jackson donating all profits from the tour to its coffers.





https://videos.dailymail.co.uk/video/mo ... 995740.mp4
Attending the eagerly anticipated event on Tuesday evening, Paris, 23, dazzled on the red carpet in a gorgeous red patterned wrap dress that fell just below the knee.

The model and singer styled the eye-catching number with some maroon suede boots and a myriad of beaded bracelets, as well as several distinctive necklaces.

Paris drew further attention to her ice blue eyes with an array of brown and bronze eyeshadows while painting her lips a stunning shade of deep red.

Posing for photos inside the cavernous Broadway venue, she revealed the highly noticeable array of tattoos decorating both her arms after pulling her dress sleeves to her elbows.


Paris was accompanied by older brother Prince, who looked appropriately smart in a black suit, matching tie and crisp white dress shirt.

The 24-year-old, who also attended a preview of the musical in December, styled his hair in a ponytail and accessorized with a large silver watch.

Given the occasion, both were in high spirits as they greeted die-hard Michael Jackson fans before making their way inside for the debut show.

Jackson's youngest son Prince Michael Jackson II AKA Blanket, now 19, did not walk the red carpet but was seen leaving the event with older sister Paris.

The late Michael Jackson shares Prince and Paris with ex-wife Debbie Rowe. The pair were married from 1996 to 1999.

Spike Lee, who has been a longtime supporter of Michael Jackson's, turned up to opening night in a Beat It t-shirt styled with an orange windbreaker coat.

Tamron Hall rocked a similar look but layered up with a red leather jacket and tucked her MJ tee into a frilly white maxi skirt.

American civil rights activist Al Sharpton, 67, and his girlfriend Aisha McShaw, 43, were spotted posing for a snap on the red carpet before heading inside the historic theatre.

The bio-musical's star Myles Frost had all eyes on his as he graced the opening night step-and-repeat in a black beaded suit.

It had silk lapels and intricate beaded embroidery on the front and down the sleeves.

The Washington D.C. native layered his gorgeous jacket over a black turtleneck top.

Myles had diamond stud earrings in his ears and posed for shutterbugs in a pair of frameless shades.

Frost is making his Broadway debut as Michael Jackson and was cast as the leading role after Tony nominated star Ephraim Sykes left the show due to a scheduling conflict, according to Playbill.

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I want to thank you
@ParisJackson
for these wonderful flowers! I’m glad you enjoyed opening night at
@MJtheMusical
! I am honored to play the role of
@michaeljackson
as a kid! #MJtheMusical #Broadway #littlemichaeljackson #singer #Dancer #actors #flowers

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https://dcmetrotheaterarts.com/2022/02/ ... l-jackson/

Broadway’s ‘MJ’ offers a spectacular and sensitive look at the brilliance and pain of Michael Jackson
by Deb Miller

Lauded and beloved by fans around the globe as one of the world’s best-selling music artists in history and one of the most successful entertainers of all time, with an unsurpassed number of awards and 39 titles in the Guinness Book of World Records to his name (including the most philanthropic pop star on earth), Michael Jackson is now the subject of the all-new Broadway jukebox, dance, and bio-musical MJ at the Neil Simon Theatre. Written by two-time Pulitzer Prize winner Lynn Nottage, directed and choreographed by Tony Award winner Christopher Wheeldon, and presented by special arrangement with The Estate of Michael Jackson, the show, featuring a score of 37 of his (and some of his contemporaries’) most iconic chart-topping hits, is an electrifying and poignant tribute to the legendary King of Pop and his extraordinary talent, with empathetic insights into the pain and pressure he endured from the time of the childhood he never really had. It also provides a star-is-born vehicle for lead actor Myles Frost, a Maryland native whose breathtaking perfection on stage is in total sync with that of his eponymous role.



On February 3, 1992, Jackson held a press conference at Radio City Music Hall announcing his upcoming Dangerous World Tour, with the goal of raising $100 million for his charitable Heal The World Foundation (he did, in fact, play to more than four million people, gross $140 million, and donate all the proceeds to the now defunct humanitarian organization). The making of that tour provides the central theme and setting of MJ, interspersed with accounts, flashbacks, and re-enactments of the backstory of his life, his greatest inspirations, and the highlights of his career (including such classics as “Billie Jean,” “Don’t Stop Til You Get Enough,” “Man in the Mirror,” “Wanna Be Startin’ Somethin’,” and “Thriller”), along with the workings of his creative mind and drive that resulted in the signature sound and unparalleled moves that cemented his superstar status.

In an absolute thriller of a Broadway debut, Frost turns in a thoroughly dazzling performance, faultlessly capturing Jackson’s soft and childlike speaking voice, famed vocals, and uniquely original dance and body movements that caused a sensation in his TV, video, and concert appearances, from the staccato hip thrusts to the smooth spins and moonwalk that became synonymous with his immortal style. He also affectingly delivers the haunting emotions and perfectionist mindset of the artist, with a telling mix of vulnerability, determination, and unexpected touches of eccentric humor.
Frost’s spectacular, sensitive, and award-worthy portrayal is supported by an across-the-board exceptional cast. In go-back scenes and memories of his younger time with the Jackson Five, Little Michael is played by the remarkable Christian Wilson (on the date I attended, alternating with Walter Russell III), and later, in his early days as a solo performer, by the equally impressive Tavon Olds-Sample. Both nail the songs and the stylings that set him apart from his brothers and peers, and the psychological damage done by his insulting and abusive father Joseph, who pushed him to excess, but never showed him love.

Quentin Earl Darrington makes dramatic shifts between his dual roles of the intensely controlling Joseph Jackson and Michael’s concerned manager Rob, whose caring advice and suggestions about safety, finances, overwork, and pill-addiction trigger thoughts in the mind of the star of past episodes with his father, often requiring Darrington to transition instantaneously between the two, and clearly distinguishing them with effective characterizations of their antithetical personalities. And Ayana George as Katherine Jackson, Michael’s mother, brings her beautiful voice to tender moments of support for her young son, while still explaining and defending the actions and motivations of her brutal husband to the boy.
The rest of the large supporting cast and ensemble of dancers and singers (with musical supervision, orchestrations, and arrangements by David Holcenberg, and musical direction, orchestrations, and arrangements by Jason Michael Webb) also contributes masterfully to the incomparable quality of the Broadway production. Among the standouts is John Edwards as both MJ’s brother Jackie, harmonizing and moving with the Jackson Five, and as James Brown, delivering a blockbuster vocal solo.

Other significant figures in the musical narrative – and in Michael’s stressful existence – are members of the press (one of whom, we are reminded, referred to him as “Wacko Jacko”), including featured actors Whitney Bashor as interviewer Rachel and Gabriel Ruiz as cameraman Alejandro, who constantly invade his personal space and privacy and overstep the conditions of their MTV taping (which was intended to be about the music), and other tenacious reporters at a press conference for the world tour, who raise questions about the devastating allegations being made against Jackson, which would come to dominate the news within the next year.

A stellar design team recreates the authentic look and feel of Jackson and his times, with spot-on costumes by Paul Tazwell, hair and wigs by Charles Lapointe, sets by Derek McLane, projections by Peter Nigrini, lighting by Natasha Katz, and sound design by Gareth Owen, all adding to the excitement of the high-energy performances and the ebullient celebration of his phenomenal talent. Song after song, dance after dance, garnered wildly enthusiastic standing ovation after standing ovation on the night I was there (30 years to the day of the Dangerous World Tour announcement) – all well-deserved by the astounding cast and creators, and indicative of the abiding love fans have for the King of Pop and his groundbreaking music.

Running Time: Two hours and 30 minutes, including an intermission.

MJ plays an open-ended run at the Neil Simon Theatre, 250 West 52nd Street, NYC. For tickets (priced at $59-299), call (212) 757-8646, or go online. Everyone must show proof of COVID-19 vaccination to enter the building and must wear a mask when inside.

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MJJJusticeProject #1Billion4MJ@MJJJusticePrjct·Feb 13BREAKING! So far- as of Feb 12, 2022 - Every single #MJtheMusical show on #Broadway in February has been SOLD OUT!! INCREDIBLE TONIGHT'S SHOW too! #MichaelJackson Come FEEL - The Thriller of it All!!!

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Yulie
@yubee26
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Apr 2
MJ: The Musical’s Myles Frost is an inspiration. He beautifully honors Michael’s legacy.
GIVE MYLES THE TONY!
#MJtheMusical
#MichaelJackson
@TheTonyAwards


https://youtu.be/aLcSna_yVTY

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MJ For Life
@MJForLife10

Srsly I've been a Michal Jackson fan all my life and my mom and dad too and we thought maybe no one can step in his shoes and didn't expect nothing but @MylesFrost5 was magical as MJ. made us cry and wowowowow no words #givemylesthetony #tonyforMJ

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andjustice4some
@andjustice4some

#MJtheMusical has been nominated for:
Outstanding production of a musical
Outstanding direction of a musical
Myles Frost for Distinguished Performance award!!

https://t.co/6CAYads7WR

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MJ
@MJtheMusical
This! Thank you
@TheTonyAwards
for the amazing honor of 10 nominations. Shout out to our incredible MJ fam and congrats to our fellow nominees! #TonyAwards #MJtheMusical

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