‘MJ’ Review: Michael Jackson Lives Again In Lynn Nottage’s Thriller Of A Broadway Musical

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‘MJ’ Review: Michael Jackson Lives Again In Lynn Nottage’s Thriller Of A Broadway Musical
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Has any Broadway production in recent (or even not so recent) memory arrived with as much emotional baggage – or carried it as lightly – as the visually and sonically ravishing MJ? The …

musical, as unlikely as such a prospect might have seemed a year ago, now appears poised to take Manhattan with the same hurricane force that the real Jackson funneled when he moonwalked into television history oncan’t contain the shock of the new that turned his 1983 television performance into an era-defining moment, it is in no short supply of its own thrills, not least the reminder, after all these years of scandal and accusations, that we once observed, in real time, the blossoming of...

We’re told that the stakes for Jackson couldn’t be higher: Nine years after his enormously successful, groundbreaking and career-definingalbum will be scrutinized by the press, the public and, not least, by Jackson himself for even the vaguest hint that the King of Pop can’t hold his crown forever. The Dangerous tour and album will either return Jackson to the cultural pinnacle or simply return him to the earthly realm inhabited by the Madonnas and Bowies and Springsteens of the world.

And what songs they are, nearly three dozen of them. Sticking roughly – very roughly – to real-life chronology,offers up tunes from the Jackson 5 era through Michael’s early “Rock With You” solo period, the triumphantAin’t Too Proud, Jersey Boys, Tina – Nottage’s book and Wheeldon’s direction/choreography tap into collective nostalgia without sacrificing of-the-moment vitality. Will younger audience members be as delighted as Boomers by the faithful recreation of the still astonishing “Dancing Machine” ? Or with that culture-rocking Motown 25 rendition of “Billie Jean” that introduced the glove, the hat and the moonwalk? Hard to imagine they wouldn’t be.is distinguished by a visual spectacle that would have dazzled the King himself.

I say one of the showstoppers because they come fast and furious: A press conference table – upended with Michaelit – becomes a small stage within a stage. Or later, when Jackson acknowledges his dance heroes by showcasing the styles of Bob Fosse, Fred Astaire and the Nicholas Brothers. Or when a wall explodes into glass shards, tabloid headlines projected onto each one. .

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