Leave a comment mentioning your favorite Michael Jackson song & why. I’ll chose a winner after 12/13 11:59 PM.
Post your comment submission on my Facebook, Instagram, X (formerly “Twitter”), Threads, TikTok, or YouTube. This is a free SINGLE ticket courtesy of Shows I’ve Seen in price level F (worth about $75 if you include Ticketmaster fees) to any remaining MJ: The Musical performance which ends 12/17 at the Broadway Seattle and Seattle Theatre Group Paramount Theatre. Subject to seat availability. Review: showsiveseen.com/7468. #theatre #showsiveseen #musical #MJ #MichaelJackson #musical
Free Ticket Giveaway: I’m giving away a free ticket to this show. See details here.
Elevator Thoughts (aka Tweet): MJ the Musical from Broadway Seattle and Seattle Theatre Group at the Paramount Theatre. Tight pop dance synchronicity. Good Michael Jackson impression. A spectacle of lights, costumes, projections, and rhythm! SO many “boom moments.” #Jukebox
Recommendation
See it, especially if you enjoy Michael Jackson’s music.
Synopsis from the Theatre: The music. The moves. The icon. Now, the unparalleled artistry of the greatest entertainer of all time comes to Seattle as MJ, the Tony Award®-winning new musical centered around the making of the 1992 Dangerous World Tour, begins a tour of its own. Created by Tony Award®-winning Director/Choreographer Christopher Wheeldon and two-time Pulitzer Prize winner Lynn Nottage, MJ goes beyond the singular moves and signature sound of the star, offering a rare look at the creative mind and collaborative spirit that catapulted Michael Jackson into legendary status. MJ is startin’ somethin’ as it makes its Washington premiere at the Paramount Theatre in 2023.
Attended Performance Date: Opening Night 12/7/23
Type: Musical
World Premiere: No
Several or Few Scenes: Several
Several or Few Settings/Locations: Several
Static (Stationary) Set: No
Prior Exposure/Knowledge Required: You’ll probably appreciate this musical more if you’re familiar with Michael Jackson’s discography. Don’t let that stop you though because while I’m typically not a fan of his music, I still enjoyed the show.
Defined Plot/Storyline: It was a series of flashbacks remembered from a rehearsal space frame. So while the script was sequential, it was not linear. There wasn’t really a strong classic plot of rising action, climax, and falling action. I feel like the book’s message was “Michael Jackson had demons. Bye!”
Live Band/Orchestra: Yes, there was uniquely one on-stage and one in the orchestra pit!
Equity Actors: All
Total Number of Actors: Too many to count
Perceived Pace of the Show: The scenes in the present were slow, but the scenes in the flashbacks were medium speed
Length (Including Any Intermission): 2.75 hours
Was there an intermission? Yes
Was This the First Time I Attended a Production of this Show? Yes
Would I See It Again 3 Years from Now? Probably not, but it was good.
Other Rave(s) Not Mentioned Above
The Beat: I’m usually not a huge fan of heavy beats, but it was thrilling to feel the bass so strong that it resonated in my chest. “Something Criminal” and “Thriller” were particularly memorable. It felt similar to when I saw Moulin Rouge! The Musical around the same time last year.
Choreography: Obviously, the choreography in a Michael Jackson musical needs to be on point, and this production did not disappoint. The performers tightly synchronized their abrupt pop and lock movements. They even sometimes synchronized their choreography with the virtual dancers in the projections on the wall.
MJ Impression: Roman Banks portrayed a realistic impression of Michael Jackson, especially with his docile high-pitched soft-spoken voice.
Retro Scenes: The flashbacks during Michael Jackson’s younger years reminded me of Motown: The Musical.
Boom Points: There were a TON of moments I can only describe as “boom points” when sounds and lights suddenly abruptly converged into a climactic moment. These moments were so surprising that my head reared back most times. It was a good artistic decision given the “abrupt style” of Michael Jackson’s music and choreography.
Costumes: Paul Tazewell recreated iconic looks from Michael Jackson’s tours. I especially enjoyed his colorful retro costumes from the Motown era.
Cast Doubling: Kudos to Devin Bowles for effortlessly switching between his characters of Michael Jackson’s dad and tour manager. One clearly didn’t have Michael’s best-interests in mind, but the other’s loyalty was more up for debate.
Last Scene: Given the storyline of the musical, the last scene was a well-chosen artistic decision to lead up to.
Visuals: The scenes outside the rehearsal space were visually thrilling with the projections and light show, especially the song before the first rendition of “Thriller.”
Rant(s)
Least Favorite Line: Michael Jackson told an incessant interviewer something like “Listen to my music. It answers any questions you have.” I hope that was a line quoted by the real Michael Jackson because I’d be ashamed to have written something that cliche. 🤢🤮
Other Musing(s) and Observation(s)
“Startin’ Something”: The song with the longest applause was “Startin’ Something.” I’m not sure why though.
Child Abuse Allegations: As a younger millennial and a child of a conservative religious household, I didn’t really grow up enjoying Michael Jackson’s music. All I remember were the pedophilia and child abuse allegations, which I wish this show addressed. But the storyline ended in the early 90s before I think those accusations were more prevalent.
Mirrors: I was certain the on-stage mirrors would become TV screens or projection backgrounds, but I was wrong. It would have been a nice visual effect though for virtual dancers to appear in the mirrors like they appeared in the wall projections.
Skin Color: They didn’t depict Michael Jackson in his iconic white skin tone, but they talked about it in an interview scene.
Fosse: I didn’t know some of Michael Jackson’s moves were inspired by Bob Fosse, but it totally makes sense!
Binary Energy: Similar to the Michael Jackson’s pop and lock music and choreography style, the energy in this show was very binary … to a fault. The show started with a great hook showcasing tight pop choreography in “Beat It.” But the strong hook disappointingly led to slow, tepid energy in the rehearsal room scenes. The show was filled with thrilling moments, which heavily contrasted with dead, almost silent moments. There were scenes when I literally felt sleepy! If this binary energy was an intentional artistic decision to mimic Michael Jackson’s music and choreography style, color me impressed. But it’s never a good idea to put the audience to sleep.
Lucky: As a commoner, I guess I’ll never understand the plight of a rich celebrity who seemingly “has it all.” The storyline reminded me Britney Spears’ lyrics to “Lucky.” At the time, many people thought “Oh boo hoo, pretty little rich girl celebrity has problems? Cry me a river.” I kind of felt the same thing when the show presented Michael Jackson’s demons.
Theatre Company: National Tour Brought by Broadway Across America and Seattle Theatre Group
Venue: Paramount Theatre
Venue Physical Address: 911 Pine St, Seattle, WA 98101
Ticket Affordability Options: Seattle Theatre Group might partner with an organization you’re affiliated with for discount tickets. For example, I believe UW employees/students are eligible for an organization discount.
Dates: December 7 to 17, 2023
Seating: Assigned Seating
Parking: Paid street parking and paid garage parking. The best parking garage is under the convention center w/ the entrance on Pike around the Pike and Terry intersection. Last I checked, this is one of the cheapest, least busy, and closest garages. Alternatively, you can probably find street parking as you move closer to the West Precinct (810 Virginia St, Seattle, WA 98101). Do NOT park where the Paramount subscribers park. Last I checked, they usually park in the garage attached to the Cheesecake Factory. It’ll take you at least 30 minutes to exit that garage after the show.
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Cast and Production Team: See after pictures and/or video below
@showsiveseen @Lynn Nottage's @MJ the Musical from Broadway Seattle & @Seattle Theatre Group at the Paramount Theatre, starring @Roman Wellington Banks or Jamaal Fields-Green. Directed/choreographed by Christopher Wheeldon. Conducted by @Victor.Simonson. Tight pop dance synchronicity. Good #MichaelJackson impression. A spectacle of lights, costumes, projections, & rhythm! SO many "boom moments." Review: showsiveseen.com/7468 #theatre#showsiveseen#mj♬ Smooth Criminal (2012 Remaster) – Michael Jackson
Roman Banks as ‘MJ’ and the cast of the MJ First National Tour. Photo by Matthew Murphy, MurphyMade.Brandon Lee Harris as ‘Michael’ and the cast of the MJ First National Tour. Photo by Matthew Murphy, MurphyMade.Roman Banks as ‘MJ’ and the cast of the MJ First National Tour. Photo by Matthew Murphy, MurphyMade.Roman Banks as ‘MJ’ and the cast of the MJ First National Tour. Photo by Matthew Murphy, MurphyMade.Jaylen Lyndon Hunter as Little Marlon Ethan Joseph as Little Michael and the cast of the MJ First National Tour. Photo by Matthew Murphy, MurphyMade.Josiah Benson as ‘Little Michael’ and Anastasia Talley as ‘Katherine Jackson’ in the MJ First National Tour. Photo by Matthew Murphy, MurphyMade.Roman Banks as ‘MJ’ and the cast of the MJ First National Tour. Photo by Matthew Murphy, MurphyMade.
Role
Name
MJ
Roman Banks*
MJ (Alternate)
Jamaal Fields-Green
Rob, Joseph Jackson
Devin Bowles
Rachel
Mary Kate Moore
Michael
Brandon Lee Harris
Little Michael
Bane Griffith* Josiah Benson Ethan Joseph
Little Marlon
Jaylen Lyndon Hunter
Tito Jackson, Quincy Jones
Josh A. Dawson
Kate, Katherine Jackson
Anastasia Talley
Alejandro
Da’von T. Moody
Nick, Berry Gordy, Don Cornelius, Doctor
J. Daughtry
Dave
Matt Loehr
Tour Dancer, Randy Jackson, Jackie Wilson (Dancer)
Malcolm Miles Young Zion Pradier*
Tour Singer, Jackie Jackson, James Brown (Vocal)
Jay McKenzie
Tour Dancer, Soul Train Dancer
Kellie Drobnick
Tour Dancer, Suzanne De Passe, Isley Brother (Dancer)
Janayé McAlpine Jojo Carmichael*
Tour Dancer, Isley Brother (Dancer), Nicholas Brother
Chelsea Mitchell-Bonsu
Tour Dancer, Fred Astaire
Matteo Marretta
Tour Dancer, Bob Fosse, Newscaster
Croix Diienno
Keith, Jermaine Jackson, Isley Brother (Vocal)
Jacobi Kai
Tour Dancer, Marlon Jackson, James Brown (Dancer), Nicholas Brother
Brion Marquis Watson
Dance and Fight Captain
Kyle Dupree
Assistant Dance Captain
Jojo Carmichael
Swing
Jojo Carmichael Kyle Dupree Zuri Noelle Ford Jahir L. Hipps Rajané Katurah Kendrick Mitchell Zio Mikhail Pradier Ayla Stackhouse Charles P. Way
Elevator Thoughts (aka Tweet): Anaïs Mitchell’s Hadestown musical w/ Broadway Seattle and Seattle Theatre Group at Paramount Theatre on Halloween. Artistic, poetic, and clever. Dazzling yet dark visuals. Loved Marla Louissaint’s alto. #showsiveseen #hades #eurydice #orpheus
Recommendation
See it, especially if you like unique musicals.
Synopsis from the Theatre: Come see how the world could be. Welcome to HADESTOWN, where a song can change your fate. Winner of eight 2019 Tony Awards® including Best Musical and the 2020 Grammy® Award for Best Musical Theater Album, this acclaimed new show from celebrated singer-songwriter Anaïs Mitchell and innovative director Rachel Chavkin (Natasha, Pierre & The Great Comet of 1812) is a love story for today… and always. HADESTOWN intertwines two mythic tales — that of young dreamers Orpheus and Eurydice, and that of King Hades and his wife Persephone — as it invites you on a hell-raising journey to the underworld and back. Mitchell’s beguiling melodies and Chavkin’s poetic imagination pit industry against nature, doubt against faith, and fear against love. Performed by a vibrant ensemble of actors, dancers and singers, HADESTOWN is a haunting and hopeful theatrical experience that grabs you and never lets go.
Attended Performance Date: 10/31/23 – Opening night on Halloween of all days!
Type: Musical
World Premiere: No
Several or Few Scenes: Several
Several or Few Settings/Locations: Medium to several
Static (Stationary) Set: Mostly yes
Prior Exposure/Knowledge Required: No, but it helps to know a little about basic Greek mythology
Defined Plot/Storyline: Yes
Live Band/Orchestra: There was a dedicated live band in the background and the actors also occasionally played instruments
Equity Actors: All
Total Number of Actors: 13
Perceived Pace of the Show: Medium speed
Length (Including Any Intermission): 2.5 hours
Was there an intermission? Yes
Was This the First Time I Attended a Production of this Show? No, I saw it last year at the same theatre in the front row!
Would I See It Again 3 Years from Now? Before I saw it last night, I would have said no. After I saw it last night, I’d say probably.
Other Rave(s) Not Mentioned in Elevator Thoughts
Fates: The Fates (played by Marla Louissaint, Lizzie Markson, and Hannah Schree) stole the show in this production, especially with their tight acapella harmonies in “Nothing Changes.” I love Marla Louissaint’s deep, full, rich, developed alto voice.
Lyrics: The lyrics were clever like Lin-Manuel Miranda’s but more beautifully chosen and more artistically delivered.
Lighting: While the general aura of the musical was influenced by the darkness of the underworld, there were moments of dazzling allurement like in “Wait for Me” with the waving hanging lamps from the ceiling and the bulbs on the back wall. The light also enhanced the excitement when Hades exclaimed “I conduct the electric city!” The lanterns that the fates held in Orpheus’s journey from Hadestown added a wonderful feeling of unease.
Treadmill Stage: Speaking of the long and lonely journey from Hadestown, the circular treadmill stage floor worked very well in this scene.
“Our Lady of the Underground” Song: Persephone (played by Lana Gordon) really shined in this act 2 opening number.
Rant(s)
Comparison to Previous Production: I feel like this production was more tepid than what I saw last year at the same theatre. Maybe it’s the thrill of first impressions. That being said, you should definitely see this production if you have the opportunity.
Invisible Performer: I’m mystified why they exciled the drummer behind the set where the audience couldn’t see. Everyone else in the band was visible!
Theatre Company: Broadway Across America National Tour and Seattle Theatre Group
Venue: Paramount Theatre
Venue Physical Address: 911 Pine St, Seattle, WA 98101
Ticket Affordability Options: Seattle Theatre Group might partner with an organization you’re affiliated with for discount tickets. For example, I believe UW employees/students are eligible for an organization discount.
Dates: October 31 to November 5, 2023
Seating: Assigned Seating
Parking: Paid street parking and paid garage parking. The best parking garage is under the convention center w/ the entrance on Pike around the Pike and Terry intersection. Last I checked, this is one of the cheapest, least busy, and closest garages. Alternatively, you can probably find street parking as you move closer to the West Precinct (810 Virginia St, Seattle, WA 98101). Do NOT park where the Paramount subscribers park. Last I checked, they usually park in the garage attached to the Cheesecake Factory. It’ll take you at least 30 minutes to exit that garage after the show.
J. Antonio Rodriguez, Marla-Louissaint, Lizzie Markson, and Hannah Schreer in Hadestown North American Tour 2023. Photo by T Charles Erickson.Matthew Patrick Quinn, J. Antonio Rodriguez, and Lana Gordon in Hadestown North American Tour 2023. Photo by T Charles Erickson.Hadestown North American Tour 2023. Photo by T Charles Erickson.Amaya Braganza in Hadestown North American Tour 2023. Photo by T Charles Erickson.J. Antonio Rodriguez and company in Hadestown North American Tour 2023. Photo by T Charles Erickson.Lana Gordon and company in Hadestown North American Tour 2023. Photo by T Charles Erickson.Will Mann, Amaya Braganza, J. Antonio Rodriguez, and Company in Hadestown North American Tour 2023. Photo by T Charles Erickson.
Role
Name
Eurydice
Amaya Braganza
Orpheus
Colin Lemoine (10/31 & 11/3) Jordan Bollwerk (11/1 & 11/2) John Krause (11/4 & 11/5)
Persephone
Lana Gordon
Hades
Matthew Patrick Quinn
Hermes
Will Mann
Fates
Marla Louissaint, Lizzie Markson, Hannah Schreer
Workers Chorus
Sevon Askew, Jamal Lee Harris, Courtney Lauster, Daniel Tracht, Racquel Williams
Swings
Ian Coulter-Buford, KC Dela Cruz, Colin Lemoine, Cecilia Trippiedi
Understudy for Orpheus
Colln Lemoine, Daniel Tracht
Understudy for Eurydice
KC Dela Cruz, Courtney Lauster
Understudy for Persephone
Marla Louissaint, Racquel Williams
Understudy for Hades
Sevon Askew, Jamal Lee Harris
Understudy for Hermes
Sevon Askew, Ian Coulter-Buford
Understudy for Fates
KC Dela Cruz, Courtney Lauster, Cecilia Trippiedi, Racquel Williams
Congrats Merry for winning a ticket courtesy of Shows I’ve Seen to Broadway at the Paramount’s and Seattle Theatre Group’s Tina: The Tina Turner Musical, which is on-stage at Paramount Theatre till September 17, 2023. Read my review at showsiveseen.com/6480 #musical #theatre #TinaTurner #Tina #showsiveseen @tinaturner
Elevator Thoughts (aka Tweet): Tina – The Tina Turner Musical with Broadway Seattle and Seattle Theatre Group at the Paramount Theatre starring Ari Groover. Dazzling lights and projections. Roz White was a delightful mom. Surprising amount of domestic violence in the 1st act!
Synopsis from the Theatre: THERE IS ONLY ONE. HER VOICE IS UNDENIABLE. HER FIRE IS UNSTOPPABLE. HER TRIUMPH IS UNLIKE ANY OTHER. An uplifting comeback story like no other, Tina – The Tina Turner Musical is the inspiring journey of a woman who broke barriers and became the Queen of Rock n’ Roll. One of the world’s best-selling artists of all time, Tina Turner has won 12 Grammy Awards and her live shows have been seen by millions, with more concert tickets sold than any other solo performer in music history. Featuring her much loved songs, Tina – The Tina Turner Musical is written by Pulitzer Prize-winning playwright Katori Hall and directed by the internationally acclaimed Phyllida Lloyd.
Prior Exposure/Knowledge Required: Obviously, you’d probably enjoy this more if you’re familiar with Tina Turner’s hits. I’m surprised I was only familiar with two songs “Proud Mary” and “What’s Love Got to Do with It?”
Defined Plot/Storyline: Yes
Live Band/Orchestra: Yes
Equity Actors: All
Total Number of Actors: Too many to count
Perceived Pace of the Show: Medium but a little slow in the beginning of the first act
Length (Including Any Intermission): 3 hours
Intermission Included: Yes
Was This the First Time I Attended a Production of this Show: Yes
Would I See It Again 3 Years from Now: No
Recommendation: See it if either 1) you’re a Tina Turner fan 2) or you watch Lifetime TV dramas with domestic violence.
Other Rave(s) Not Mentioned in Elevator Thoughts
Mother: Roz White (as Tina Turner’s mom Zelma) was so delightful despite her character’s lack of maternal warmth. I actually thought she was a stepmom.
Projections: The projections seemed inspired by the psychedelic 1970s. They were especially mesmerizing immediately after the “Proud Mary” number.
Light Design: The lights were dazzling … even painful with the sudden spotlights in the Brazil concert scene!
Wigs: Ari Groover showcased a plethora of Tina Turner hairstyles throughout the show. My favorite was probably “the Farrah Fawcett” worn at the beginning of the second act.
Favorite Song: Other than the obvious recognizable hits “Proud Mary” and “What’s Love Got To Do With It,” I liked “Shake a Tailfeather” because the choreography reminded me of Hairspray.
Favorite Line: Regarding Tina’s signature hairstyle, her mom said something like “Looks like a cat’s been sucking on it.”
Rant(s)
Heat and Humidity: Let’s turn on the A/C or dehumidifier Paramount Theatre!
White Savior: Even though it might be historically accurate that Roger Davies (played by Zachary Freier-Harrison) was the catalyst for Tina’s icon status, it reminded me of the “white savior” trope like in the movies The Help and Hidden Figures.
Other Musing(s) and Observation(s)
Domestic Abuse: The first act was filled with domestic violence/abuse like a Lifetime TV drama! Maybe that’s why I enjoyed the second act more.
Chant: A mystic Buddhist mantra theme was woven throughout the musical. I honestly thought it was an indigenous tribal chant until I read about it the next day. The script should explain this mantra more.
Theatre Company: National Tour from Broadway Across America and Seattle Theatre Group
Venue: Paramount Theatre
Venue Physical Address: 911 Pine St, Seattle, WA 98101
Price: Medium to Expensive
Ticket Affordability Options: Seattle Theatre Group might partner with an organization you’re affiliated with for discount tickets. For example, I believe UW employees and students are eligible for an organization discount.
Dates: September 12 to 17, 2023
Seating: Assigned Seating
Parking: Paid street parking and paid garage parking. The best parking garage is under the convention center w/ the entrance on Pike around the Pike and Terry intersection. Last I checked, this is one of the cheapest, least busy, and closest garages. Alternatively, you can probably find street parking as you move closer to the West Precinct (810 Virginia St, Seattle, WA 98101). Do NOT park where the Paramount subscribers park. Last I checked, they usually park in the garage attached to the Cheesecake Factory. It’ll take you at least 30 minutes to exit that garage after the show.
Garrett Turner as ‘Ike Turner’ and Roz White as ‘Zelma’ in the North American touring production of TINA – THE TINA TURNER MUSICAL. Photo by Matthew Murphy and Evan Zimmerman for MurphyMade, 2022 Naomi Rodgers performing “River Deep – Mountain High” as ‘Tina Turner’ in the North American touring production of TINA – THE TINA TURNER MUSICAL. Photo by Matthew Murphy and Evan Zimmerman for MurphyMade, 2022Naomi Rodgers performing “Proud Mary” as ‘Tina Turner’ and the cast of the North American touring production of TINA – THE TINA TURNER MUSICAL. Photo by Matthew Murphy and Evan Zimmerman for MurphyMade, 2022 Naomi Rodgers as ‘Tina Turner’ in the North American touring production of TINA – THE TINA TURNER MUSICAL. Photo by Matthew Murphy for MurphyMade, 2022Garrett Turner as ‘Ike Turner’ in the North American touring production of TINA – THE TINA TURNER MUSICAL. Photo by Matthew Murphy and Evan Zimmerman for MurphyMade, 2022Garrett Turner as ‘Ike Turner’ in the North American touring production of TINA – THE TINA TURNER MUSICAL. Photo by Matthew Murphy and Evan Zimmerman for MurphyMade, 2022Ayvah Johnson as ‘Young Anna-Mae’ and the cast of the North American touring production of TINA – THE TINA TURNER MUSICAL. Photo by Matthew Murphy and Evan Zimmerman for MurphyMade, 2022Ann Nesby as ‘Gran Georgeanna’ in the North American touring production of TINA – THE TINA TURNER MUSICAL. Photo by Matthew Murphy and Evan Zimmerman for MurphyMade, 2022
