© 2019 Michael James Scott. All rights reserved.

 
 
 

ABOUT

Michael

Michael James Scott has played the Genie in Disney’s Aladdin internationally including Broadway, London, the North American Tour and Australia (where he originated the role and won the Helpmann Award for Best Featured Actor in a Musical). He can be seen in the new Showtime TV series “Black Monday.”

 

He originated the role of the The Minstrel on Broadway in Something Rotten as well as Dr. Gotswana (aka The Guy with the Maggot Problem) in the Tony-winning smash hit, The Book of Mormon. Other Broadway credits include Mamma Mia, Tarzan, All Shook Up, The Pirate Queen, Elf, and Hair. He was the standby for the legendary Ben Vereen in the international tour of Fosse, taking over the role in Paris at the renown Théâtre du Châtelet. On the West End, he was the associate choreographer for the Broadway revival transfer of Hair.

Off-Broadway, he co-starred in Here’s to the Public opposite Donna McKechnie and was also part of the concert cast of Jerry Springer The Opera at Carnegie Hall. Outside NYC, he was a part of original Las Vegas company of Jersey Boys and played the Donkey in Shrek The Musical at the famous St. Louis Muny. Regional credits include Aida, Ragtime, South Pacific, Cinderella and Little Shop of Horrors.

His numerous television and film appearances include “The Carrie Diaries” (The CW), Independent Woman (Feature Film), “The View” (ABC), “The Tonight Show with Jimmy Fallon” (NBC), “The Late Show with Conan O’Brien” (NBC), “Good Morning America” (ABC), “The Today Show” (NBC), “The Macy’s Thanksgiving Day Parade” (CBS), and “The TONY Awards” (CBS).

 

He was a member of the critically acclaimed singing group The Broadway Boys and Grammy-nominated and Tony-winning Broadway Inspirational Voices. He can be heard on many original Broadway cast albums, multiple studio recordings, and the Broadway Boy's debut album “Lullaby of Broadway.”

 

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contact

Pakula King & Associates
9229 Sunset Blvd #400

Los Angeles, CA 90069

Tel: (310) 281-4868

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Editorial

credit Matthew Murphy