Review of MJ the Musical

Photo by Matthew Murphy

MJ the Musical recently moonwalked its way to Los Angeles. It opened on December 20 at The Hollywood Pantages Theatre and will run through January 28, 2024, at the famous LA venue. The four-time Tony Award-winning hit has been captivating audiences since early February 2022, when it began its blockbuster run on Broadway. The production is an exhilarating celebration of Michael Jackson and his music. It features amazingly choreographed dance numbers, fantastic music arrangements and stunning stage designs. And the extremely talented cast delivers dazzling performances of more than 25 MJ songs.

The musical effectively captures the energy, excitement and mania of the pop-soul superstar’s storied career. It begins with dance rehearsals for the 1992 Dangerous World Tour, with MJ obsessing over every minute detail and his business people fretting over the tour’s ever-growing costs. He's deep in debt and putting every dime into the Dangerous production to ensure that he gives his fans the most exciting and entertaining show possible. At the same time, he’s being followed around by an overeager MTV film crew that's looking to dig up some controversial tidbits on the legendary artist. This scene touches on MJ's notorious perfectionism and how he always swung for the fences in everything he did. Going small was not in his vocabulary.

And through cleverly set up flashbacks, the musical explores different periods in MJ’s career. It goes all the way back to his younger days before he and the Jackson 5 signed with Motown, as well as his teen years when the group parted ways with the legendary Motor City label and signed with Epic Records. There are also some terrific flashbacks to his Off The Wall, Thriller and Bad eras.

The cast is led by actor/singer/musician Roman Banks. He transfixes the audience with a masterful portrayal of the King of Pop–from the Thriller era through The Dangerous World Tour. Banks skillfully channels MJ’s unique mannerisms and performance style. And like MJ, his dance movements are at once slinky, smooth and explosive. 

Brandon Lee Harris delivers a knockout performance as teen-through-early 20s MJ. And gifted young actors/performers Josiah Benson and Ethan Joseph are outstanding in their respective roles as Little Michael. 

Among the musical’s many highlights is a brilliant reimagining of "Thriller" with inventive new choreography and a simmering Bob Fosse-ish dance routine set to a jazzy instrumental version of “The Way You Make Me Feel” that flawlessly segues into a show-stopping performance of “Smooth Criminal.” And the cast blows the audience away with incredible performances of other MJ classics such as “Billie Jean,” “Wanna Be Startin’ Somethin’,” “Man in the Mirror,” “Don’t Stop ‘Til You Get Enough,” “Beat It,” “Black or White” and “Bad.” Also, several of the Jackson 5’s hits were performed in the show, including “ABC,” “I Want You Back,” “The Love You Save” and “Dancing Machine.” And Anastasia Talley (playing Jackson family matriarch Katherine Jackson) lights up the stage with a beautiful rendition of “I’ll Be There.”

A few of MJ’s less-popular tracks were also included in the production. For instance, Banks delivers a powerful performance of the criminally underrated “Stranger in Moscow.” He also treats the audience to a killer rendition of “The Price of Fame,” which was originally slated to be used in a 1986 Pepsi commercial but was replaced by an edited version of “Bad.” It was later included on the Bad 25 album, released on September 28, 2012.

In addition to Bob Fosse, the musical also gives big shout-outs to other great performers who influenced MJ, including James Brown, Fred Astaire, Jackie Wilson and The Nicholas Brothers. 

The musical briefly touches on MJ’s addiction to painkillers but wisely steers clear of the sexual abuse allegations. That’s a subject better suited for an in-depth and balanced documentary–but definitely not a one-sided, factually inaccurate hit piece like HBO’s Leaving Neverland (2019). This production is designed to be a celebration of the artist and his music, and bringing up the allegations would seriously spoil its celebratory spirit. It’s for MJ fans who just want to enjoy the music and performances and relive the moments when they first heard one of his classic songs or first saw one of his groundbreaking music videos. It’s also a great experience for young MJ fans who never got the opportunity to see him perform live. This is the next best thing, because it definitely feels like you’re at a Michael Jackson concert in many parts. The audience roared and cheered following the rousing finale like they had just witnessed a real MJ concert.

Two-time Pulitzer Prize-winning playwright Lynn Nottage wrote the book for MJ the Musical. It was directed and choreographed by Christopher Wheeldon, who won a well-deserved Tony Award for his exquisite choreography in this amazing production. Victor Simonson is the production's musical director and conductor. As of November 2023, the musical has grossed $157.2 million, with attendance of more than a million people.

Related blog entries:

The Jacksons Perform Shake Your Body (Down To The Ground) In Toronto For 1984 Victory Tour

Review of Michael Jackson's Off The Wall Album

Dancers and Performers Who Have Influenced Michael Jackson

"Will It Go Round In Circles" by Billy Preston

Billy Preston scored his first number one on the pop charts with the smash “Will It Go Round In Circles” in 1972. The multitalented artist blessed the ears of music lovers everywhere with this irresistible slice of rapturous funk. Preston's musical gifts are on full display here. He elevates the groove with some rollicking blues piano and gospel organ. And he serves up loads of sanctified soul on vocals. The track also features dynamic horn lines and gutbucket bass. Additionally, Preston doubles down on the funk with a wicked melodica solo.

The song’s origin stems from a joke Preston made to his songwriting partner, Bruce Fisher, about having a song that has no melody. This inspired the song’s opening refrain: “I got a song, I ain’t got no melody/I’ma gonna sing it to my friends.” The song continues with this paradoxical theme, such as having a dance with no steps and a story with no moral. The lyrics are really contrarian and clever, and it sounds like Preston is having a blast singing them. 

“Will It Go Round In Circles” was co-written by Preston and Fisher, a singer-songwriter, musician, and producer. It was a single from Preston’s seventh studio album, Music Is My Life, released in October 1972. It topped the Billboard Hot 100 for two weeks and rose to #10 on Billboard’s R&B &B singles chart. It also reached the top spot on the Canadian charts. The song went on to sell over a million copies. Preston landed his second number one on the Billboard Hot 100 with “Nothing from Nothing” in 1974. 

The personnel for “Will It Go Round In Circles” was Preston (keyboards, vocals, melodica), Louis Johnson (bass), Manuel Kellough (drums), George Johnson (guitar), Hubert Heard (keyboards) and the horn section: Tom Scott (saxophone), Buck Monari (trumpet), George Bohanon (trombone), Paul Hubinon (trumpet) and Jim Horn (saxophone). The track was produced by Preston and released on A&M Records.

“Will It Go Round In Circles” has been sampled on five songs and was featured on the soundtracks for the films Beautiful Girls (1996) and Hesburgh (2018). It’s been featured on five television series, including an episode of HBO’s Vinyl (season 1, episode 5, titled “He in Racist Fire,” originally aired March 13, 2016).

When Preston released “Will It Go Round In Circles,” he was a well-established and respected artist with numerous major career achievements already under his belt. A self-taught child prodigy, he was playing organ for legendary gospel queen Mahalia Jackson at the tender age of 10. At 11, he performed Fats Domino’s hit “Blueberry Hill” with music icon Nat King Cole on the NBC TV series The Nat King Cole Show. A 12-year-old Preston played young W.C. Handy in the film St. Louis Blues (1958) with Cole cast as adult Handy. 

Preston joined Little Richard’s band as an organist in 1962. He was only 16 at the time. When Little Richard was touring in Hamburg that year, the Beatles were his opening act. Preston developed a close friendship with the four soon-to-be global superstars during the Hamburg dates. This friendship led to Preston contributing his talents to three Beatles albums: The Beatles (better known as The White Album, 1968), Abbey Road (1969), and Let It Be (1970). He also performed with the Beatles on their historic 1969 rooftop concert at Apple Corps headquarters in London. 

Moreover, Preston has the distinction of being the only non-Beatle to be credited on a Beatles song. His amazing keyboard work on the Beatles classic “Get Back” earned him a title credit. The song is credited as The Beatles with Billy Preston. He’s often referred to as “The Fifth Beatle” due to his significant contributions to the three aforementioned Beatles albums. There was even serious talk of possibly bringing Preston on board as a new member when he was working with them on the Let It Be album. In the subsequent years, Preston worked with former Beatles members on different music projects. He played on solo albums by George Harrison, John Lennon, and Ringo Starr. He also performed at Harrison’s “Concert for Bangladesh” in 1971.

Preston also frequently toured with the Rolling Stones and played on their classic albums Sticky Fingers (1971) and Exile on Main Street (1972). And he played on Sly & The Family Stone’s groundbreaking album There’s a Riot Goin’ On (1971). Some of the other major artists Preston had worked with include Sam Cooke, Ray Charles, Eric Clapton, and Johnny Cash. Also, Preston co-wrote Joe Cocker’s 1974 classic “You Are So Beautiful.”

Jazz giant Miles Davis’s 1974 album Get Up with It has a track titled “Billy Preston” in Preston’s honor. And during rehearsals for “The Concert for George” in 2002, Ringo Starr called Preston “one of the greatest Hammond players of all time.” In 1979, Preston and singer-songwriter Syreeta Wright landed a huge international hit with their duet “With You I’m Born Again.” Additionally, he wrote and performed the funky theme song for the 1972 blaxploitation film Slaughter, starring Jim Brown.

Preston was nominated for nine Grammy Awards and won two. He was inducted into the Rock & Roll Hall of Fame posthumously in 2021 and was honored with its Musical Excellence Award. That same year, White Horse Pictures and Homegrown Pictures announced the making of a Paris Barclay-directed documentary on Preston. The yet-to-be-titled documentary is currently in post-production and has no release date set so far.

Billy Preston performing "Will It Go Round In Circles" on The Midnight Special 

"Will Go Round In Circles" available at Amazon

Related blog entries:

Review of Peter Jackson's The Beatles: Get Back Documentary Series

"Nothing From Nothing" by Billy Preston

"Jive Talkin'" by The Bee Gees

The Bee Gees’ 1975 single “Jive Talkin’” marked a major turning point in the legendary trio’s career. It was one of their first forays into R&B and funk-influenced dance music–a sound that would not only revive their flagging careers but also elevate them to global superstar status within a few years. This track is an exciting mix of disco, pop, R&B and funk. It’s anchored by a funky, pulsating synth bass line, which was pretty unique at the time. Only a handful of R&B and pop artists were laying down synth bass lines on their tracks back in ‘75–most notably Stevie Wonder on his groundbreaking “classic period” albums. “Jive Talkin’” has a powerful, energetic beat and an infectious rhythm guitar riff. It also features a great instrumental section where keyboardist Blue Weaver contributes a fantastic synth part. 

Barry Gibb serves up a sweet, soulful lead vocal performance, and his brothers, Robin and Maurice, provide strong support on background harmonies. The song’s narrator voices his frustrations with his jive-talkin’ lady who can never be straight with him. She constantly lies to him and treats him badly, making him feel like a first-class chump. 

“Jive Talkin’” was co-written by all three Bee Gees. In the Emmy-winning documentary The Bee Gees: How Can You Mend a Broken Heart, Barry explained the genesis of the song. He said its rhythm was inspired by the “clickety-click” sound their car made as they crossed the Julia Tuttle Causeway Bridge on their daily trips from Biscayne Bay to Criteria Recording Studios in North Miami. Barry said it sounded like “ch, ch-ch, ch-ch” in his head, and he eventually began singing to the rhythmic sound–and “Jive Talkin’” was born. You can hear the “ch, ch-ch, ch-ch” scratchy chicken-picking guitar lick that the song was built on at the intro. 

The inclusion of synth bass on “Jive Talkin’” was an instance of pure serendipity. Group bassist Maurice couldn’t make it into the studio one day, so Blue Weaver played the bass line on a Minimoog synthesizer. It was only meant to be a temporary placement until Maurice returned. When he came back to the studio, they played him the demo with the synth bass line and suggested he re-record it on his bass guitar. However, Maurice really dug the synth bass part, so they left it in. He just contributed a few extra touches in certain sections for additional flavor. Also, Weaver played the stellar synth part in the song’s instrumental section on an ARP 2600 synthesizer.

“Jive Talkin’” was the lead single from the Bee Gees’ thirteenth studio album Main Course, released in June of 1975 on RSO Records. It shot to #1 on the Billboard Hot 100 and peaked at #9 on Billboard’s Hot Disco Singles chart. The song rose to #5 on the UK singles chart. It also charted in the top 10 in three other countries: New Zealand (#4), Ireland (#5) and Canada (#1). The song has sold over a million copies in the U.S. and moved 250,000 units in the UK and 75,000 in Canada. 

Main Course was produced by Arif Mardin. The acclaimed producer and arranger had worked with soul legends such as Aretha Franklin, Donny Hathaway and Roberta Flack, so he was the ideal choice to help the Bee Gees take their sound in a more R&B-focused direction, which was their intention with this LP. He’s the one who suggested that Barry sing falsetto ad-libs on the chorus of “Nights on Broadway,” the second single from Main Course. It worked out so well that Barry began singing falsetto on the majority of the group’s tracks after that; his falsetto has become an iconic signature of the Bee Gees’ sound. “Nights on Broadway” was also a big hit. It rose to #7 on the Billboard Hot 100 and charted in the top 10 in several other countries. The album spawned one more hit with the third single “Fanny (Be Tender with My Love),” which peaked at #12 on the Billboard Hot 100.

“Jive Talkin’” has been sampled on eight songs, per WhoSampled.com. Funk band Rufus recorded a terrific cover of the song for their fourth studio album Rufus featuring Chaka Khan (1975). Additionally, “Jive Talkin’” was featured on the soundtrack for the 2016 film The Nice Guys, starring Ryan Gosling and Russell Crowe. It was also featured in an episode of The Simpsons (season 20, episode 10, 2009), as well as an episode of The King of Queens (season 8, episode 4, 2005). "Jive Talkin'" is also included on the 1977 Saturday Night Fever soundtrack.

Here’s the full musician lineup for “Jive Talkin’”: Barry Gibb (vocals, rhythm guitar), Maurice Gibb (bass, rhythm guitar, vocals), Robin Gibb (vocals), Blue Weaver (keyboards, synthesizer), Dennis Byron (drums percussion) and Alan Kendall (guitar). 

The Bee Gees performing "Jive Talkin'" on The Midnight Special on December 5, 1975.

"Jive Talkin'" available at Amazon

Related blog entry: The Bee Gees Get Funky on "Boogie Child"

"Movin'" by Brass Construction

Funk/R&B/disco band Brass Construction scored their biggest hit with the exhilarating dance groove “Movin’” in 1976. The track is impeccably arranged and features stellar musicianship from the talented Brooklyn funk crew. The track boasts magnificent horn charts, high-voltage synths, funky guitar licks and a monster beat. And Wade Williamston powers the groove with a smoldering bass line. This cut was a dance-floor magnet at parties and clubs back in the day. People would come off the dance floor drenched in sweat after shaking it to this epic party jam. 

“Movin’” was co-written by Williamston and Brass Construction's founder and leader Randy Muller. It was the first single from the band’s platinum self-titled debut album, released in December of 1975 on United Artists Records. It topped Billboard’s R&B singles chart and peaked at #14 on the Billboard Hot 100. And the track spent four weeks atop Billboard’s Dance Club chart. It also performed well on the charts in other parts of the world: the UK (#23), the Netherlands (#10), Belgium (#20) and Canada (#47).

According to Whosampled.com, “Movin’” has been sampled on 216 songs, including Michael Jackson’s “Can’t Let Her Get Away,” MC Hammer’s “Pump and a Bump,” DJ Quik’s “Quik is the Name," DJ Jazzy Jeff and the Fresh Prince’s “Boom! Shake the Room" and "Back That Azz Up" by Juvenile, featuring Mannie Fresh and Lil Wayne. 

"Movin'" has been featured on the soundtracks for the films Auto Focus (2002) and All The Way (2003), as well as the HBO series How to Make It in America (season 1, episode 1, Pilot, originally aired February 14, 2010). Additionally, it was featured in an episode of the famous sitcom Good Times. It can be heard playing in the background during the Evans family's going-away party where they receive the tragic news that the Evanses’ patriarch, James Evans Sr., has been killed in an auto accident. The episode was titled “The Big Move: Part 1,” and it originally aired on September 22, 1976.

The players on “Movin’” were Randy Muller (keyboards, percussion, vocals), Wade Williamston (bass), Larry Payton (drums, vocals), Joseph Arthur-Wong (lead guitar), Jesse Ward Jr. (saxophone, vocals), Wayne Parris (trumpet, vocals), Irving Spice (strings), Michael Grudge (saxophone, vocals), Sandy Billups (congas, vocals) and Morris Price (trumpet, vocals, percussion).

"Movin'" is available at Amazon

Related blog entry: "Changin'" by Brass Construction

George “Funky” Brown, Kool & The Gang Drummer and Co-Founder, Dead at 74

Kool & The Gang’s longtime drummer and founding member George “Funky” Brown died on November 16 of lung cancer. He was 74. The super-talented drummer provided the funky backbone for the legendary soul/funk/jazz band's tracks for decades. He was also one of the band’s main songwriters and co-wrote classics such as “Celebration,” “Ladies’ Nights,” “Jungle Boogie,” “Too Hot,” “Summer Madness,” “Get Down On It" and "Cherish." Brown, along with fellow Kool & The Gang members Robert “Kool” Bell, James “J.T.” Taylor and Ronald Bell (aka Khalis Bayyan), was inducted into the Songwriters Hall of Fame in 2018.

George Melvin Brown was born on January 15, 1949 in Jersey City. His father, George Sr., worked in the coal business, and his mother, Eleanor White Brown, was employed as a maid and key puncher. His parents made sure that music was always a big part of his life. Brown developed an interest in drumming at a young age. He saved up money from his newspaper route to buy his first drum set. He paid $3 for a drumming lesson from a drummer who used to play for renowned vocal group the Shirelles. He told Brown that he was a “natural” and gave him the book titled Buddy Rich’s 16 Essential Snare Drum Rudiments. Brown took one more lesson and never returned, as he already had the necessary tools to become a great drummer. He modeled his drumming style after jazz drummers like Art Blakey, Buddy Rich and Elvin Jones.

In 1964, Brown, tenor saxophonist Ronald Bell, trumpeter Robert “Spike” Mickens, keyboardist Rickey West, bassist Robert “Kool” Bell (Ronald’s brother), guitarist Charles Smith and saxophonist Dennis “Dee Tee” Thomas formed the Jazziacs. They were neighborhood friends, and all of them, except for Smith, attended Lincoln High School in Jersey City. The band members were influenced by jazz giants such as Charlie Parker and John Coltrane, so their early sound was very jazz-heavy. They gigged around the East Coast for years honing their chops, developing band chemistry and building a following. 

The band also went through various name changes, including The Funk Town Band, The Soul Machine Review and The New Dimension, before finally settling on Kool & The Gang. By the time they changed their name to Kool & The Gang, their sound had become much more funky and R&B-based; however, there were still strong jazz elements in their music.

The band signed to De-Lite Records in 1969. They released their self-titled debut album on the label in December of that year. The album is a high-quality collection of R&B, funk and soul-jazz tracks. It showcased the band’s formidable musicianship and impressive production and arrangement skills. The album’s two singles, “Let The Music Take Your Mind” and “Kool & The Gang,” both peaked at #19 on Billboard’s R&B singles chart. The LP reached #43 on Billboard’s R&B album chart. The collection served as a great launching pad for the band’s incredible music career.

Kool & The Gang went on to become one of the biggest R&B bands of the ‘70s and ‘80s. They have sold more than 70 million albums worldwide and boast 25 top-10 singles on the R&B charts (including nine #1s) and 12 top-10 singles on the pop charts. The band also has 31 gold and platinum albums and has landed numerous music honors and awards, including two Grammys and seven American Music Awards. In 2014, they were honored with the BET Soul Train Lifetime Achievement Award. And they received a star on the Hollywood Walk of Fame in 2015. Additionally, Kool & The Gang are the tenth most sampled artist of all time; their music has been sampled 1922 times, according to WhoSampled.com.

George “Funky” Brown's drumming was an essential ingredient of Kool & The Gang's sound, and he has influenced legions of drummers with his tremendous skills and dynamic funk feel. He never failed to deliver the funk, be it in the studio or onstage.

"Let The Music Take Your Mind"

Kool & The Gang performing "Who's Gonna Take The Weight" on Soul Train in 1972

"Funky Stuff"

"Gator Bait" by The Gaturs, featuring Willie Tee

This jazzy deep-funk groove is by influential New Orleans band the Gaturs, featuring Willie Tee. The talented players show how they funk things up NOLA style on this 1970 instrumental. Erving Charles Jr. lays down a smokin’ bass line, which is complemented by Larry Panna’s dynamic drumming and Alfred “Uganda” Roberts’ poppin’ congas. The track also features some tight wah-wah guitar licks from June Ray, and Tee serves up some smooth funk on keyboards. The groove is further elevated by a badass bass solo from Charles. “Gator Bait” was written, produced and mixed by Tee. 

Willie Tee (born Wilson Turbinton) was a keyboardist, singer, songwriter and producer. He was a seminal figure in New Orleans music and helped forge its sound through his influential funk and soul recordings of the ‘60s and ‘70s. He was also the creative force behind the landmark 1974 album The Wild Magnolias, which he co-wrote and arranged. He also assembled the session’s backing band. The album was the first to combine New Orleans funk with the parade chants of Mardi Gras Indian tribe, the Wild Magnolias. The album, and its follow-up They Call Us Wild (1975), brought Mardi Gras Indian funk to the world stage. 

Tee formed the Gaturs in 1970. They were one of the architects of the New Orleans funk sound. Their music was a delicious stew of funk, jazz, soul and jazz-funk. The band released some topflight grooves on New Orleans soul label Gatur Records, which was co-owned by Tee and his cousin Ulis Gaines. Tee and the Gaturs' reputation grew, and they soon became a staple of the New Orleans club scene. In 1994, a 10-song compilation of the Gaturs’ music was released on Funky Delicacies, a subsidiary of New York-based Tuff City Records. The compilation, titled Wasted, is named after a Gaturs track. “Gator Bait” is also included on the compilation. 

During his distinguished music career, Tee played with a number of prominent New Orleans artists–in the studio and on stage. And in addition to his prodigious keyboard skills and impressive songwriting and production abilities, he was a talented vocalist. He brought his rich vocals to soul gems like “Teasin’ You” and “Please Don’t Go.”

Tee’s music has also been embraced by the hip-hop community. His tracks have been sampled by big-name rap artists such as Diddy, Lil Wayne, Nas and Geto Boys. 

Additionally, Tee’s music has been featured on the soundtracks for films such as Ray (2004) and Undercover Blues (1993). And his tracks have appeared on two episodes of the HBO series The Wire (season 4, episodes 4 and 12, 2006), as well as one episode of HBO series Treme (season 1, episode 1, 2010).

Tee was inducted into the Louisiana Music Hall of Fame on April 14, 2007. He died of colon cancer on September 11, 2007 at the age of 63, leaving behind an amazing musical legacy. His immense contributions to New Orleans music will forever be remembered and celebrated.

The Gaturs music available at Amazon

Film Review of The United States vs. Billie Holiday starring Andra Day

The United States vs. Billie Holiday is a biographical drama that explores legendary jazz singer Billie Holiday's struggles with heroin addiction and the U.S. government’s quest to destroy her reputation and career. The 2021 Lee Daniels film also focuses on the importance of Holiday’s landmark song “Strange Fruit” and how it shed light on anti-black racial terrorism taking place in the American South.

The film is based on a chapter from the nonfiction book Chasing the Scream: The First and Last Days of the War on Drugs by Johann Hari. It was adapted for the screen by Pulitzer prize-winning playwright Suzan-Lori Parks. The film stars singer-songwriter/actress Andra Day as Billie Holiday.

The United States vs. Billie Holiday covers the years 1947 to 1959. Much of it takes place in the late ‘40s when Holiday was battling heroin addiction and alcoholism. She was also being targeted by the Federal Bureau of Narcotics (FBN) at that time. FBN commissioner Henry J. Anslinger, an avowed racist, launched a vicious personal crusade against Holiday. He used her heroin addiction as a pretext to silence her and prevent her from performing her 1939 song “Strange Fruit.” The powerful protest anthem describes a lynching in horrific detail. Its harrowing imagery sent chills down the spines of listeners whenever Holiday performed it. She infused the song with a haunting mix of sorrow and bitterness with every verse dripping with pain and heartbreak. 

The song became a much-requested favorite at Holiday’s shows, and she defiantly continued to perform it despite many threats and warnings from Anslinger, who believed the song was dangerous and could incite riots. And he did everything in his power to prevent Holiday from performing it. He had the singer arrested three times and repeatedly attempted to plant evidence on her through his agents or her lovers. Anslinger was eventually successful in framing Holiday for the purchase and use of heroin–landing her an 18-month stint in prison and the revocation of her cabaret card. The federal government refused to reinstate Holiday’s cabaret card upon her release from prison in 1948. At that time, a cabaret card was mandatory for musicians and singers who performed at clubs or bars that served alcohol. This seriously undermined her career, as she could no longer travel the nightclub circuit. 

However, that didn’t stop Holiday from making a triumphant appearance at Carnegie Hall just 11 days after her release from prison. This was her first performance at the fabled venue as a headliner, and she completely mesmerized the sold-out crowd with her incredible talent. She had three curtain calls during this historic performance. This amazing scene is one of the biggest highlights of the film. And it illustrates why Day was cast in the title role.

Day delivers a phenomenal performance as Holiday. She hits all the right emotional beats and commands the screen in every scene. She completely embodies Holiday–both onstage and off–in the role. And what makes this even more impressive is that this was Day’s first starring role and only her third film. The performance landed Day a Golden Globe Award for Best Actress in a Drama. It also garnered her an Academy Award nomination for Best Actress.

The film also boasts a really strong supporting cast. Trevante Rhodes (Moonlight) is a standout as conflicted black federal agent Jimmy Fletcher. He goes undercover as one of Holiday’s ardent fans to dig up dirt on her to bring back to his superiors; however, he eventually starts to empathize with the singer and grows to understand the reasons behind her addiction to heroin and alcohol; he learns that she uses them to salve deep emotional wounds born from an extremely rough life, which included abject poverty, sexual violence and prostitution. The character, who is based on a real-life FBI agent, even develops a romantic relationship with Holiday in the film. However, a romantic relationship between the two in real life has never been confirmed. Rhodes was an inspired casting choice as Fletcher. He and Day share amazing onscreen chemistry.

Another cast standout is Da'Vine Joy Randolph (Dolemite Is My Name) who plays Holiday’s close friend and confidante Roslyn. Joy brings an entertaining mix of toughness and vulnerability to the role; she also brings some much-needed humor to this serious drama. Also, Natasha Lyonne (Orange Is the New Black) is great as stage and film actress Tallulah Bankhead, who was a rumored lover of Holiday’s. Although a romantic relationship between the two has never been confirmed, they were definitely close friends until they had a falling out due to Bankhead’s insistence that she be kept out of Holiday’s autobiography Lady Sings The Blues (originally published in 1956). She even threatened to file a lawsuit if she wasn’t kept out of the book, as she feared it could ruin her career. 

Some of the other members of the talented cast include Erik LaRay Harvey, Miss Lawrence, Tyler James Williams, Leslie Jordan, Garrett Hedlund and Evan Ross. 

The United States vs. Billie Holiday is overall a really good film, and Daniels does a great job of showcasing all of the pressures that Holiday was facing during that period in her life as well as touching on the historic significance of “Strange Fruit.” However, the film starts losing focus during its final third. The rhythm and pacing just feel off during this portion of the film. Everything is kind of disjointed and lacks cohesion. The momentum and energy that drove the earlier scenes are missing here. Nonetheless, Day’s superb performance even elevates these weaker scenes and makes them work. Credit must also go to the terrific supporting cast for bringing their best to each scene. 

The film is currently streaming on Hulu. 

The United States vs. Billie Holiday available at Amazon