In the mid 1800s, lower Manhattan contained a row of streets that were known as the Five Points.
As the curtain rose at the Ethel Barrymore Theatre last night, I wasn’t quite sure what I was about to witness. Broadway’s newest musical Paradise Square tells the exuberant story of the supposed birth of dancing, taking place at a bar in the Five Points of lower Manhattan in 1863.
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.
Do you remember these six queens from class textbooks? How About specials on PBS?
Disney’s newest film provides the sweetest message: you are so much more than your gifts.
There are few parts of life that come with more uncertainty, awkwardness, freedom, and triumph than being a girl in her freshman year of college. Through living with people you’ve never met before and navigating the fact that there’s an entire world outside of your comfort zone, it’s a time of triumph that comes with so much more to discover alongside. Mindy Kaling’s new HBO show depicts all of these struggles in such a lighthearted and hillarious way, that sums up the ever present message; it’s okay to have sex. The importance of this show is not lost on viewers, even through the hilarious plot lines and the charm that all of the characters carry within themselves. Starring Pauline Chalamet as Kimberly, Reneé Rapp as Leighton, Alyah Chanelle Scott as Whitney, and Amrit Kuar as Bela, the show centers around a group of four randomly assigned roommates that the incredibly prestigious Essex College. Each in their own little words, tje girls go on their own journeys throughout the course of tje series, and in turn they learn a whole lot about themselves. The girls could not be more different, and nothing that they envisioned about their college experience is going to plan, but Kaling (in partnership with writer Justin Noble) creates an incredible sense of both entertainment and relatability within their experiences. We had the brilliant opportunity to sit down with Mindy, Justin and the cast and talk all about the series, check out the full conversation below!
Last night symbolized the official reopening of Broadway as the iconic Winter Garden Theatre housed the 74th Annual Tony Awards.
“Broadway is back.”
Taking the phrase wine and dine to the next level
After the year and a half+ we all had, we could use a little bit of merriment in our lives. So, without further (much) ado (about nothing) – here are your top 5 reasons to run to see the current production of Merry Wives – this summer’s featured Free Shakespeare in The Park show presented by The Public Theatre.
1.) The diverse and unique perspectives brought to a classic work. Upon being seated, audiences are fully welcomed into the production via a drummer on stage who invites audience members to participate in a series of call and response greetings that are native to various African nations, including Kenya, Nigeria, and South Africa, among several others. This warm welcome brings us into the world of modern day South Harlem and sets up the stage perfectly for this witty and fun production of Merry Wives, which is a spin on Shakespeare’s The Merry Wives of Windsor adapted by Jocelyn Bioh and directed by Associate Art Director/Resident Director Saheem Ali. The choices made regarding this production make it clear that this is more than just your average Shakespeare in the park show – this summer’s production is here to honor Black joy, queerness, differences, similarities, heritages of all sorts, and the city itself.
2.) Physical comedy. Mark my words, there is no greater joy than seeing excellent physical comedy in a Shakespeare production. A good physical performance can take the antiquated words from the page and transport them centuries into the future. Overall, the performances were very strong – it was clear that the cast trusted each other and celebrated heritage, the Bard, and each other on that stage. I would be remiss if I didn’t shout out Jacob Ming-Trent, who portrays Falstaff in one of the most innovative and dynamic ways I’ve ever seen – perfectly adapted for a modern audience, but remaining true to iconic joker himself. Comedy gold was shining thru when Madam Nkechi Ford (Emmy nominee, Susan Kelechi Watson) and Madame Ekua Page (Tony nominee, Pascale Armand) play Falstaff’s game and meet him with shenanigans of their own in their element, heightening the confusion and making the encounter all the more enjoyable for the audience.
3.) Lights! Sets! Choreography! Costumes! Where to start. The craftsmanship of Merry Wives was all around outstanding. As mentioned earlier, from the get go, the audience is fully immersed in the world of this contemporary story. The scenic design by Beowulf Boritt and costume design by Dede Ayite focus on the small, but necessary details that make this production realistic and relatable such as Black Lives Matter signage all around the neighborhood and decorated iPhone cases that were used by characters to capture hysterical moments. At the end of the show there, we are transported into a “dream-like” sequence, which utilizes costumes and design in an extremely dynamic way that derives elements from various African cultures, making the scene impactful and emotional not only for Falstaff, but also for the entire theatre. Speaking of the “dream-like” scene, the choreography (by Darrell Grand Moultrie) and fight direction (by Rocío Mendez) were powerful vehicles for physical storytelling throughout the duration of the 110 minute show. The use of movement truly propelled the story in ways that just dialogue did not, we felt more connected to the characters and the emotional journeys they were going on.
4.) Theatre, but make it socially distanced (and vaccinated). Re-acclimating to “normal” life is a challenge in its own right. In addition to being an outdoor production (which is a staple of Shakespeare in the Park whether during a pandemic or not), The Public is requiring proof of vaccination for full capacity seating areas. Upon walking into the Delacorte Theatre, you must wear a mask until you get to your seat and those in physically distanced seating areas do not need to provide proof of negative testing, but those non-vaccinated guests must remain masked at all times. I’ve seen a few productions back at this point and this was by far among the safest I felt. A huge thank you to The Public for taking the initiative to put the safety of so many New Yorkers first.
5.) Merry Wives highlights the beauty of New York City in all its glory! Free Shakespeare in the Park has been a New York City tradition since 1954 and it’s one of the few that continues to strive to make professional theatre relevant to new generations and widely available to diverse audiences. This production is a love letter to New York and shows the world that we’re back and merry, baby!
Free Shakespeare in the Park’s production of Merry Wives as presented by The Public Theatre, is playing at the Delacorte Theatre (81 Central Park West) through September 18th, 2021. For more information, please visit: https://publictheater.org/productions/season/2021/sitp/merry-wives/