NEW YORK, NY.- A biographical Michael Jackson musical began previews on Broadway this week with a big budget, a huge fan base and a looming question: How would the show grapple with allegations that the pop singer molested children?

The answer: It doesn’t.

The musical, for which Jackson’s estate is one of the lead producers, is set in 1992, the year before the singer was first publicly accused of abuse.

The show, titled “MJ,” depicts Jackson at the top of his game — the King of Pop, with astonishing gifts as a singer and dancer — but also suggests that he was facing financial woes (mortgaging Neverland), was overly reliant on painkillers (he was prescribed Demerol after he was burned while filming a Pepsi ad), had considerable emotional baggage from his upbringing (his father is shown hitting him) and was besieged by reporters fixated on everything but his artistry (remember Bubbles, his pet chimpanzee?).

The show, with a book by two-time Pulitzer Prize-winning playwright Lynn Nottage and direction by acclaimed choreographer Christopher Wheeldon, has a long preview period ahead: It isn’t scheduled to open until Feb. 1, and the creative team can continue to revise and refine the show until then.

But Monday night’s sold-out first preview offered a glimpse of the show’s structure and indicated that the team has opted to stick to its initial plan, hatched years ago, to focus on Jackson’s genius, and to showcase his hit-rich song catalog. The musical takes place over two days inside a Los Angeles rehearsal studio, where a driven Jackson is in the final stages of rehearsing for his “Dangerous” world tour.

The show, capitalized for up to $22.5 million, offers context for Jackson’s creative choices through flashbacks to earlier chapters of his career, most of them prompted by questions from a documentary filmmaker who says she wants to observe Jackson’s process but turns out to be more interested in signs of trouble.

The musical was announced in the spring of 2018, with a projected arrival on Broadway in 2020. But seven months later, a documentary called “Leaving Neverland” premiered at Sundance, bringing renewed attention to allegations, denied by Jackson when he was alive and by his estate since his death, that Jackson had sexually abused children. (The men featured in the documentary declined, through a spokesperson, to comment on the musical.)

Shortly after the documentary was first aired, the production canceled a planned pre-Broadway run in Chicago, citing labor woes, and later the musical’s name was changed, from a potentially problematic “Don’t Stop ’Til You Get Enough” to the simpler “MJ.” When the Chicago run was scrapped, the producing team, led by Lia Vollack, announced a plan to bring it to Broadway in the summer of 2020, but then the coronavirus pandemic shut down Broadway. So the show is just getting underway now.

In an interview in April 2019, a month after HBO released the documentary, Nottage and Wheeldon said they remained committed to the project but were still processing their reactions to the documentary. Neither would say whether they believed Jackson was a child molester and both said they did not see adjudicating that question as their role.




“This is obviously challenging — it makes this not without its complications, for sure — but part of what we do as artists is we respond to complexity,” Wheeldon said. He added: “We’re sensitive to what’s going on and we’ll see whether it works into the show or not. But the primary focus of our show has always been focusing on Michael’s creative process.”

Nottage said she aspired to craft “a musical that everyone can come to, regardless of how they feel about Michael Jackson.”

“I see the artwork that we’re making as a way to more deeply understand Michael Jackson and process feelings,” she said, “and ultimately that’s what theater can do.”

On Tuesday, asked about the show’s narrative choices, Rick Miramontez, a spokesperson for the musical, noted that Jackson remains “a global cultural icon” and said, “The producers hope the work, performance, and storytelling of the show’s talented Broadway creators, who have collaborated on this production since 2016, will make a valuable contribution to the continuing examination of the artistry, creativity and music of one of the most controversial and consequential artists of the modern era.”

The musical, which features a whopping 37 songs (some performed in their entirety and others as excerpts), has one reference to concerns about Jackson’s closeness to children, when one of the singer’s managers asks another employee: “Who the hell is this family he wants to bring on tour?”

And then, during a news conference, as reporters pelt Jackson with questions about his surgeries, his skin color and so on, one asks, “What do you have to say about the recent allegations that you —” without finishing the thought.

The packed house — in the Neil Simon Theater, which seats 1,445 people — was rapturous, with audience members leaping to their feet after “Wanna Be Startin’ Somethin’” and “Thriller,” and loudly cheering for familiar songs as well as costume elements (the glove!).

Some ticket holders were dressed in outfits made famous by Jackson — there were more than a few “Thriller” cosplayers — or in Jackson concert T-shirts; as the show ended, a toddler danced ecstatically in the orchestra aisle. Miramontez said the attendees came from as far as Hawaii, Croatia and parts of Asia to see the show.

“I’ve loved Michael Jackson since I was a little girl; his music has always been so inspirational,” said Jerrell Sablan, a 38-year-old from Jersey City, New Jersey, who wore a shirtdress she had fashioned out of a 4XL men’s T-shirt featuring images of Jackson at various stages of his career.

Her husband, Will Griffith, 43, was in a full-body candy-apple-red “Thriller” costume. “Like her, I grew up with the music. She saw one of the first ads on the subway, and we went home that day and bought tickets.” What about Jackson’s tarnished reputation? “I mean, it’s not great,” Griffith said. “But I can separate his music from the allegations.”

This article originally appeared in The New York Times.