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
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
Price: Medium to Expensive
Tickets: https://www.ticketmaster.com/mj-touring-tickets/artist/3007828
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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Buy a Ticket or Learn More:
- https://www.ticketmaster.com/mj-touring-tickets/artist/3007828
- https://mjthemusical.com/
- https://www.stgpresents.org/calendar/event/4873
- https://seattle.broadway.com/shows/mj-the-musical/
- Program
Other Video +/- Pictures: See pictures under video by Matthew Murphy from MurphyMade.
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
| 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 |
| — | — |
| Music Director/Conductor/Keys | Victor Simonson |
| Associate Music Director/Keys | Nathanael Wilkerson |
| Drummer | Jimmy Bonaparte-Coggins |
| Percussion | Mesia Austin |
| Bass | John David Bratton II |
| Guitar | Jen Leigh |
| Electronic Music Design | Billy Jay Stein and Hiro Iida for Strange Cranium |
| Trumpet, Fugelhorn | Allen Vizzutti Brad Allison |
| Trombone, Bass Trombone | Dan Macus |
| Alto Sax, Tenor Sax, Flute, Clarinet | Jack Klitzman |
| Guitar | Derek Smith |
| Keyboard | Frank Seeberger |
| STG Music Director | Jack Klitzman |
| — | — |
| MJ Understudy | Jordan Markus |
| Rob, Joseph Jackson Understudy | J. Daughtry, Josh A. Dawson, Kendrick Mitchell |
| Rachel Understudy | Rajané Katurah, Ayla Stackhouse |
| Michael Understudy | Jacobi Kai, Jordan Markus |
| Little Michael Understudy | Jaylen Lyndon Hunter |
| Little Marlon Understudy | Josiah Benson, Ethan Joseph |
| Kate, Katherine Jackson Understudy | Rajané Katurah, Ayla Stackhouse |
| Tito Jackson, Quincy Jones Understudy | Jahir L. Hipps, Jay McKenzie, Kendrick Mitchell |
| Alejandro Understudy | Jahir L. Hipps, Matteo Marretta |
| Nick, Berry Gordy Understudy | Jahir L. Hipps, Jay McKenzie, Kendrick Mitchell |
| Dave Understudy | Jahir L. Hipps, Kendrick Mitchell |
| — | — |
| Director and Choreographer | Christopher Wheeldon |
| Music Supervisor, Orchestrator, & Arranger | David Holcenberg |
| Executive Producer | Michael David |
| Author | Lynn Nottage |
| Scenic Designer | Derek Mclane |
| Lighting Designer | Natasha Katz |
| Costume Designer | Paul Tazewell |
| Sound Designer | Gareth Owen |
| Projection Designer | Peter Nigrini |
| Wig & Hair Designer | Charles G. Lapointe |
| Company Manager | Justin T. Scholl |
| Make-Up Designer | Joe Dulude II |
| Global Associate Director | Dontee Kiehn |
| Michael Jackson Movement | Rick + Tone Talauega |
| Stage Managers | Shawn Pennington, Geoff Maus, Maya Bhatnagar, Xavier Khan |
| Global Associate Choreographer | Michael Balderrama |
| Orchestration & Arranger | Jason Michael Webb |
| Music Director | Victor Simonson |
| Music Coordinator | John Miller |
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