Sight & Sound Theatres presents a new production, David with a state-of-the-art performance and inspirational music. The Biblical story about a shepherd turned king runs from March to December 2022 in Lancaster County, Pennsylvania.
We were able to catch a press preview of English, a play by Sanaz Toossi, this past Saturday at the Linda Gross Theater in Chelsea.
Myles Frost shines as Michael Jackson in MJ the Musical.
MJ opens with a pre-show with actors in an industrial rehearsal space, stretching, warming up vocals, and reviewing staging for the 1992 Dangerous Tour. In walks Myles Frost (the eldest version of MJ), and MJ’s onstage tour camp is just as stunned as we are in the audience. Between the introduction of “Beat It” playing and Frost gliding to the front of the stage, the excitement from the crowd fits the picture of a live Michael Jackson performance!
All the rehearsal steps and pieces begin to come together as we catch a behind-the-scenes glimpse of Michael’s creative vision, which seems to be the thesis of the show. The script, by Lynn Nottage, details early on that the musical will be strictly about Michael Jackson’s music except when we watch him navigate stardom, relive the trauma, and depict his personal brand of perfectionism.
The Man in the Mirror is obviously the actor, Myles Frost with his mesmerizing impersonation, that at times feels like we’re watching the King of Pop himself. He not only resembles MJ, with the help of Paul Tazewell (costume design), Charles LaPointe (wig and hair design), Rich + Tone Talauega (Michael Jackson movement), but he fiercely embodies the mannerisms, and embraces MJ’s cadences as if they were his own. With every spin, high kick, moonwalk, and robotic step, Frost commands the stage with an intimate focus on the true intentionality behind Michael’s creative imagination.
Throughout the show, MJ is building a tour and responding to the reporters (played by Whitney Bashor and Gabriel Ruiz) who are documenting the whole thing. The storyline moves swiftly, weaving in and out of Michael Jackson’s past and present (the musical is set in 1992 during the Dangerous World Tour) with his smashing hits and the influences behind them. There are three versions of MJ: Christian Wilson (who plays the younger, hopeful Little Michael), Tavon Olds-Sample (the ambitious teen/early 20s version), and Myles Frost (as the “current” Michael).
Other cast members double (and some triple), juggling the roles as tour dancers/vocalists and iconic cameos: James Brown, Jackie Wilson, Bob Fosse, Quincy Jones, members of the Jackson Five, etc. with Quentin Earl Darrington (as Rob/Joseph Jackson), Antoine L. Smith (as Nick, Berry Gordy, Don Cornelius, Doctor), and Ayana George (as Kate, Katherine Jackson).
While MJ is constantly haunted by this philosophy, “one misstep and you crumble to the bottom,” the flashbacks reveal the genesis of his life experiences and how they trigger his artistic engine through pain and perseverance. There is a special power between all three versions of MJs, under Christopher Wheeldon’s brilliant direction (and choreography) and careful blending, like the moment Ayana George (Katherine Jackson) is singing “I’ll Be There” with Little Michael (Christian Wilson), who transforms into Myles Frost’s version. The harmony is tight, the passion is deep, and the melody is sweet through the lyrics, “I’ll reach out my hand to you…”
Derek McLane (scenic design), Natasha Katz (lighting design), Peter Nigrini (projection design), Gareth Owen (sound design), Jason Michael Webb (music direction), David Holcenberg (orchestration and arrangements) all work together to bring MJ’s iconic moments to the forefront of remembrance. They use recognizable backdrops, familiar awards moments and performances, with smart use of flashing lights, transitions, and a montage of hits to take us through the King of Pop’s musical eras.
Although the show moonwalks over the controversies, there are still some revelations by the end, especially when Michael is chatting with the reporter about the pressure of every moment of his life on display. The near-end breakthrough is that no one has ever been in his position as far as fame, stardom, and popularity, including his act of “tearing the white walls down,” musical accomplishments, and revolutionary charity work.
“No matter what I do, it always gets twisted,” is a line MJ speaks in the beginning and then the question is, whether or not MJ’s life can exist separate from his music. I feel it is answered with the single thought, his life was music. And if you’re lucky enough to see this production, you’ll have a chance to witness the music in the mirror.
MJ the Musical is now open at the Neil Simon Theatre on Broadway. For tickets, click here.
Prayer for a French Republic opened its doors to public audiences on February 1st, 2022 to much anticipation.
Phylicia Rashad and Chanté Adams star in Skeleton Crew by playwright Dominique Morisseau. The show is now playing at the Samuel J. Friedman Theatre (by Manhattan Theatre Club).
The Hammerstein Ballroom has long been associated with Extreme Championship Wrestling (ECW).
Do you remember these six queens from class textbooks? How About specials on PBS?
Wakey! Wakey! Lynn Nottage strikes again with an original play, ‘Clyde’s,’ now running at Helen Hayes Theater (2nd Stage,) through January 16, 2022.
Clyde, played by Emmy-Winner Uzo Aduba (Orange is the New Black) is a sassy sandwich shop-owner who hires ex-cons to work in her establishment.
The play begins and Clyde is stretched across a counter in her namesake truck stop. It’s clear that she’s got the power and is not afraid to use it.
Described as devilish—to me—Clyde is a reflection of society, as cold and cruel as it may be. Simply put, these ex-cons are here because they’ve got no other options as they battle with the confinements of their post incarceration “freedom.”
In comparison, Montrellous (Emmy-Winner Ron Cephas Jones, This is Us) is an angel, while Clyde is a devil. And “the ingredients are at war,” as the actors master the art of sandwich artistry (and actually), chopping while acting!
Takeshi Kata’s set is an industrial kitchen with Christopher Akerlind using intense lights and music patterns (Justin Ellington) during transitions. Jennifer Moeller’s costumes, (especially Clyde’s outrageous, form-fitting ensembles) help define the show while each member of the sandwich crew has their own distinct and undeniably hilarious delivery, directed by Kate Whoriskey.
Madeline Leach
Letitia played by Kara Young is a single mother who ended up behind bars for robbing a pharmacy. Through her borderline slapstick comedy, Young commands the stage, vibrant like the hot pink cornrows cascading down her back. She’s somewhat a veteran of the shop along with Rafael (Reza Salazar). At times it’s hard to imagine the fierce fun-loving Rafael robbing a bank with a BB gun, but Salazar’s moments are believable, even during his overly dramatic love spells.
When a new hire Jason (Edmund Donovan) unintentionally shakes up the place, we see the deep desire for change among the ex-cons, and by the time Jason breaks down, we have a bit of compassion for him despite his flaws. He just wants to be alone, at peace, doing his job until getting to the next place. But that might be impossible for any of the staff members under Clyde’s abusive and toxic management.
At last, Montrellous the saint uncovers the metaphor through his various retweet-able one-liners. “Let whatever you’re feeling be a part of your process and not an impediment,” he says, presenting coping strategies for the others to fold into the possibilities as a way to escape and master reality. He urges the hopefuls to find one ingredient that defies expectations.
It’s more than just making sandwiches, it’s about putting the recipe of life together, and finding the answer to the question: Does the perfect sandwich exist? My best guess is “no,” with an open-ended denouement, though far from a resolution per se.
There’s no perfect sandwich, but in life, as well as at Clyde’s, mindfulness and radical acceptance are each the slices of bread with a jalapeño aioli spread, Swiss chard, a sprinkle of salt, and a layer of questionable Chilean sea bass.
For tickets, click here.
Queued on the doorsteps of beacon Manhattan Theatre Club’s, crowds bartered the chilly November weather for Ruben Santiago-Hudson’s Lackawanna Blues. Like fire to a cold camper, Santiago-Hudson charmed hearts of Samuel J Friedman Theatre patrons with a bona fide delivery and ode to the woman who raised him. His solo autobiographical play—written by, directed by, and starring himself—revisits his boyhood living with Miss Rachel, whom he called “Nanny.” He first created Lackawanna Blues in 2001 before its Fall 2021 debut on Broadway.
Disney’s newest film provides the sweetest message: you are so much more than your gifts.