Here's a review of Broadway's MichaelJackson musical, 'MJ,' directed by Lynn Nottage
and directed and choreographed by Christopher Wheeldon, deftly probes this weighty topic. The show was produced by arrangement with the musician’s estate, and uses Jackson’s archives and place within the public’s imagination to conduct a Freudian analysis of the artist’s life. How do you tell a story of a person who dissolved into the roles he created for himself and the roles the public created for him? Well, it depends on where and when you start. World Tour.
It was Berry Gordy , the founder of Motown records, who realized that the youngest member of the Jackson 5, with his charming presence and hypnotic voice, could be a star. Nottage highlights young Michael’s relationship with his brothers, his devotion to his mother Katherine and the growing tension with his father Joe . The brilliant set, designed by Derek McLane, coupled with striking lighting by Natasha Katz, bolsters these elegantly staged flashbacks.
Nottage casts Joe as the central terrifying figure in Michael’s formative years, a claim that echoes the critic Margo Jefferson’s argument in explicitly connects this mistreatment to the musician’s fractured psyche. Memories of Joe haunt Michael throughout his rehearsals, pushing him to demand more from his crew and from himself. At the root of this perfectionism, the musical suggests, is a desire for his father’s approval.
During a preview I attended, an audience member rose to her feet and waved her hands in the air, as if she had caught the Holy Spirit: an affirmation that to be in Jackson’s presence — even if only through gifted performers — is to experience a spiritual rapture.like its subject, is captivating and hard to shake. The musical takes audiences through Jackson’s life and catalog with impressive ease, expertly chronicling major milestones.
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