Für mich hat sich die Reise dorthin jedenfalls gelohnt. Selbst wenn die Produktion in der Regie von Nitzberg selbst noch nicht perfekt ist und manchmal etwas durchhängt, so leuchtet sie insgesamt mit einer sprachlichen Brillanz und Intelligenz, die singulär ist. Dem entsprechen die fabelhaften Darsteller, die sämtliche Klischees bedienen und gleichzeitig auf den Kopf stellen.
Of course, the subject of Michael Jackson couldn’t be more controversial, especially in the wake of HBO’s documentary Leaving Neverland. All I can say (having written The 13th Boy, my own story of being sexually molested) is that Nitzberg has found a very clever way of raising the subject without in any way diminishing its importance...
The cast is outstanding, with Anthony and Jerry Minor (as the Glove) leading the way. Andrew Ableson as the alien leader and Ogie Banks as money-obsessed Joe Jackson are wonderful, and Suzanne Nichols gives Katherine Jackson just the right balance of moral conviction and emotional suppression. But the revelation here is Eric Anthony, who dazzles as Michael. It is not simply that his singing, dancing and acting are top-notch, but that the Michael he creates is so real, so poignant, and in no way an imitation. - RECOMMENDED
The awesome task of taking on a life of such magnitude is approached with witty puppetry directed by Robin Walsh, brilliant writing, and an amazing ensemble cast.
With a production as provocative and innovative as this, it is likely to find mainstream success and to attract a cult following to boot. Suspend your disbelief, check your political correctness at the door and go see this off-the-wall show with an open mind while preparing yourself for a comical, culturally warped adventure.
On the heels of Leaving Neverland — the jaw-dropping 2019 documentary that explores the sexual abuse allegations against Michael Jackson — comes the world premiere of a musical that posits a bizarre, untold story of the King of Pop. For the Love of a Glove is a ribald, lampooning satire that offers point-by-point explanations for the superstar’s early rise to power, not the least of which is his pact with space aliens. It’s an audacious work some may find of questionable taste. It’s overly-long and heavy-handed in its soapbox takedowns of racism and religion. But it’s also a cleverly constructed, uproarious oddity that feeds our collective desire for catharsis through humor. The show, in all its absurdities, is a theatrical manifestation of our collective psyche in processing the unthinkable.
While succeeding in being outrageous in its righteous roastings of race and religiosity, the show fluctuates between sharp satire and endearing chaos, snapping back into life with a hilarious musical routine whenever it seems in danger of slipping into overstimulating incoherence.
If you miss it on Temple street, don’t worry; give it time and you might be able to catch it on Broadway.
Für mich hat sich die Reise dorthin jedenfalls gelohnt. Selbst wenn die Produktion in der Regie von Nitzberg selbst noch nicht perfekt ist und manchmal etwas durchhängt, so leuchtet sie insgesamt mit einer sprachlichen Brillanz und Intelligenz, die singulär ist. Dem entsprechen die fabelhaften Darsteller, die sämtliche Klischees bedienen und gleichzeitig auf den Kopf stellen.
Of course, the subject of Michael Jackson couldn’t be more controversial, especially in the wake of HBO’s documentary Leaving Neverland. All I can say (having written The 13th Boy, my own story of being sexually molested) is that Nitzberg has found a very clever way of raising the subject without in any way diminishing its importance...
The cast is outstanding, with Anthony and Jerry Minor (as the Glove) leading the way. Andrew Ableson as the alien leader and Ogie Banks as money-obsessed Joe Jackson are wonderful, and Suzanne Nichols gives Katherine Jackson just the right balance of moral conviction and emotional suppression. But the revelation here is Eric Anthony, who dazzles as Michael. It is not simply that his singing, dancing and acting are top-notch, but that the Michael he creates is so real, so poignant, and in no way an imitation. - RECOMMENDED
The awesome task of taking on a life of such magnitude is approached with witty puppetry directed by Robin Walsh, brilliant writing, and an amazing ensemble cast.
With a production as provocative and innovative as this, it is likely to find mainstream success and to attract a cult following to boot. Suspend your disbelief, check your political correctness at the door and go see this off-the-wall show with an open mind while preparing yourself for a comical, culturally warped adventure.
On the heels of Leaving Neverland — the jaw-dropping 2019 documentary that explores the sexual abuse allegations against Michael Jackson — comes the world premiere of a musical that posits a bizarre, untold story of the King of Pop. For the Love of a Glove is a ribald, lampooning satire that offers point-by-point explanations for the superstar’s early rise to power, not the least of which is his pact with space aliens. It’s an audacious work some may find of questionable taste. It’s overly-long and heavy-handed in its soapbox takedowns of racism and religion. But it’s also a cleverly constructed, uproarious oddity that feeds our collective desire for catharsis through humor. The show, in all its absurdities, is a theatrical manifestation of our collective psyche in processing the unthinkable.
While succeeding in being outrageous in its righteous roastings of race and religiosity, the show fluctuates between sharp satire and endearing chaos, snapping back into life with a hilarious musical routine whenever it seems in danger of slipping into overstimulating incoherence.
If you miss it on Temple street, don’t worry; give it time and you might be able to catch it on Broadway.
