MJ The Musical (Broadway)
Open run 2h 30m
MJ The Musical (Broadway)
85

MJ The Musical (Broadway) NYC Reviews and Tickets

85%
(332 Reviews)
Positive
91%
Mixed
6%
Negative
3%
Members say
Entertaining, Great singing, Great staging, Must see, Great acting

Featuring Michael Jackson's greatest hits and a book by two-time Pulitzer Prize-winner Lynn Nottage.

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Member Reviews (332)

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866 Reviews | 898 Followers
59
Great singing, Embarrassing, Excruciating, Disappointing

See it if you want to enjoy the music and dancing as a concert. (Bare sets, no story). Choreography and singing are really good though.

Don't see it if If you want to a story that you don't have to cringe for the obvious lying and covering up. This should've been a jukebox with a good story.

841 Reviews | 1006 Followers
60
Great dancing, Great singing, Slow, Overrated

See it if You are a MJ fan. The dancing and singing are strong.

Don't see it if The story is paper thin, avoids any drama and slows the pacing down. I was a bit bored & found myself checking my watch periodically. Read more

928 Reviews | 379 Followers
94
Great writing, Riveting, Great staging, Great dancing!, Great singing

See it if An amazing book! Phenomenal cast! Myles Frost is EXTRAORDINARY! A great tribute without completely ignoring darkness. Like seeing MJ live.

Don't see it if If you hate Michael Jackson’s music you will not like this show. If you hate Michael Jackson you might still like this show. Read more

942 Reviews | 225 Followers
82
Great staging, Great singing, Entertaining, Absorbing

See it if It's a fun jukebox musical. Great choreography, singing.

Don't see it if If you do not like jukebox musicals

594 Reviews | 223 Followers
76
Loud, Lively, Cliched, Great staging, Entertaining

See it if You love MJ and don’t mind seeing a Vegas-style show, so long as there is great talent on stage (even the understudies are terrific).

Don't see it if You’re hoping for an interesting look into MJ’s life. And bring your earplugs — this is played at a headache-inducing volume.

464 Reviews | 70 Followers
81
Fun, Entertaining, Great choreo, Great staging, Ambitious

See it if you like the music of Michael Jackson and want to see what went on behind the scenes.It obviously whitewashes the story& makes MJ the victim

Don't see it if you are looking for the real story behind a very troubled young man.We get an inkling of his rough childhood,&the music is great.

419 Reviews | 99 Followers
88
Energetic, Reminiscent but not imitation, Great dancing, Great staging, Thorughly entertaining

See it if You like the music. Cleverly covers only a few days little controversy. The rehearsal conceit gives us an organic reason for dance and song

Don't see it if Jackson detractors might see the childhood scenes as apologia. He is seen as forthright and demanding rather than childlike. All MJ's good.

260 Reviews | 597 Followers
83
Great staging, Nicely handled material, Entertaining

See it if you love Michael Jackson and want to see a 1992 moment in his life with some flashbacks. & his greatest hits done well. Great Ensemble!

Don't see it if don't like Micheal Jackson or his music. Or find any reason to justify his quirky behavior a problem. Read more

Critic Reviews (23)

The New York Times
February 1st, 2022

"Wheeldon’s choreography — performed by Frost along with a superb if amazingly jacked ensemble — remains compelling longer, offering a three-dimensional version of what most of us have seen only from distant arena seats or in dark videos on depthless screens. (The show’s “Michael Jackson movement” is credited to two additional choreographers, Rich + Tone Talauega.) The stage patterns are far more varied and expressive than in similar musicals, scoring points without words as they deliver the thrills and, following the biomusical road map, pave the way between present and past...In this, “MJ” is trying to have it both ways. It wants to blame everything sad and weird about Jackson on others (especially the press, who are equated with the zombies in “Thriller”) but credit him alone for his every good deed and success. Acknowledgment of the choreographers and songwriters he collaborated with is mostly saved for the program."
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Time Out New York
February 1st, 2022

"The dancers and singers of the ensemble, who double as secondary characters, are first-rate, and Wheeldon gives them a lot to do. Most of the songs are performed as rehearsals or flashbacks, which is to say as full-on production numbers. (Tracks from Jackson’s 1995 album HIStory are cannily placed by Nottage as character moments.) Like Summer and The Cher Show before it, MJ uses three actors to play its central character at different ages. As the 1992 incarnation, Frost carries the bulk of the role, and not only nails Jackson’s signature sound and moves—yes, of course there’s a moonwalk—but also his otherworldly affect: his diffident grandiosity, his mixture of grievance and mischief, his high and breathy way of talking (at once floaty and determined, like Diana Ross’s spoken-word section of “Ain’t No Mountain High Enough”)."
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New York Magazine / Vulture
February 1st, 2022

"If there is a scientific experiment to discover whether or not a jukebox musical ruins even our greatest playwrights, this is it. Perhaps it would have been better just to let her go free. MJ wants to be a concert so much — freed from narrative, it could just be bop after banger after blockbuster, the Beatlemania of our time, animated by Myles Frost’s uncanny portrait. Every moment when people are speaking instead of singing feels wrong. As a concert, it could simply elide all those inconvenient and tragic elements of the Michael Jackson legacy. So why isn’t it one?"
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The Hollywood Reporter
February 1st, 2022

"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. MJ, 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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Variety
February 1st, 2022

"In answer to the question of whether it’s possible to separate the art from the artist, “MJ” performs a slick, crotch-grabbing sidestep. Packed with nearly 40 hits from Michael Jackson’s irresistible catalogue, the Broadway production from director and choreographer Christopher Wheeldon is not so much a biomusical as a high-shine and surface-skimming rehabilitation tour for its late subject, flattening rather than reckoning with his complex legacy."
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Deadline
February 1st, 2022

"Watching MJ, one easily suspects its top-flight creative team was motivated by the same near-maniacal drive. Aside from the pedestrian framing device, MJ pushes hard and unceasingly to move beyond the just-good-enough nostalgia that can turn even second-rate jukebox productions into crowd pleasers. It succeeds: MJ is a wildly entertaining marvel."
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The Washington Post
February 2nd, 2022

"That sordid history would not seem to have foretold a jukebox musical devoted to the upside of Jackson’s genius — and certainly not by artists of the caliber of two-time Pulitzer winner Nottage (“Ruined,” “Sweat”) and the celebrated ballet world fixture Wheeldon. The show’s decidedly selective memory may be off-putting to theatergoers appalled by the stories of Jackson’s alleged misdeeds. Nevertheless, the creative team’s painstaking work has resulted in a riveting, adrenaline rush of a show, propelled by remarkable dancing and a mesmerizing central performance by Myles Frost as the sleek, soft-spoken pop megastar."
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New York Post
February 1st, 2022

"That’s not the fault of Frost, the absurdly talented newcomer who captures Jackson’s voice and physicality well. On the contrary, we feel lucky to be witnessing the birth of a new Broadway star. The same is true of the wonderful Tavon Olds-Sample as “Thriller”-era Michael who, beaming, transports us back to the 1980s, even when the production around the actor does not. As mom Katherine Jackson, Ayana George has the show’s best musical moment when she duets on “I’ll Be There” with her son. All, however, are hobbled by an indecisive script — the documentary plot and backstory are clumsily combined, and the cartoonish characters are straight outta “Scooby-Doo” — and low-energy, unattractive staging."
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