Daniel March 21st, 2024
Theatreland's Daniel and Kevin went to see the much anticipated new West End show 'MJ The Musical' at London's Prince Edward Theatre. Both not knowing what to expect, read below to find out Theatreland's official review of the production.
Without beating around the bush, I stepped into the West End theater with a mix of anticipation and skepticism. Would this show be a mere puff piece about the enigmatic icon? Or would it delve into the swirling controversies surrounding pop's brightest star? Perhaps it would feel like just another Michael Jackson tribute act, albeit slightly better than the norm.
Yet, there was another half of me that yearned to connect with Michael on a personal level. I craved the magic of his timeless pop music, to witness it come alive before my eyes. As the crowd surged into the theater, rhinestone gloves sparkled throughout, and the stage casually buzzed with dancers perfecting their moves in the studio.
And then it began the electrifying guitar riff of "Beat It". The audience erupted as Michael (shiny jacket and all) strutted onto the stage, played by the remarkable Myles Frost. For a moment, it felt as if the King of Pop himself had graced us with his presence. But my initial concern crept in the backing vocals seemed out of sync, and the stage design appeared disappointingly generic.
Thankfully, that lackluster opening track turned out to be the least dazzling moment of the entire show. From there on, I was spellbound for the entire 2 hours and 30 minutes. The stage transformed seamlessly from sterile dance studio spaces to the cozy Jackson childhood home, and even into the bustling TV studios. It flowed like water, each scene merging into the next. I blinked repeatedly, reminding myself that this wasn't a cinema screen; it was a living, breathing stage.
The jukebox musical gifted us all the hits the spine-tingling "Thriller," the introspective "Man in the Mirror," and the infectious beats of the Jackson 5's "I Want You Back" and "ABC." The cast effortlessly shifted personas from the '70s Jackson family to the dedicated rehearsal team and the stern stage manager.
Some genuine magic lay in Ashley Zhangazha's performance. He slipped seamlessly between roles, Michael's encouraging tour manager, Rob, and the harsh, abusive father, Joseph. It was in this multi-character dance that added another dimension to this beautiful storytelling.
The dancing and singing were wonderful, fluid, and genius, but what took this musical from great to genuinely impressive, from entertainment to art, is its devastatingly honest depiction of childhood abuse and parenting - and how it can cause pain, conflict, and mirrored actions in adulthood. From MJ's abuse of prescription pills to his father's projected work ethic, this new West End musical does not shy away from the dark and controversial side of Michael's life (at one point it even mentioned the elephant in the room, albeit briefly).
Thanks to the stunning child actors portraying multiple young Michaels - we get an insight into the levels his father pushed him to and the pressure that sat upon his shoulders throughout his entire career. Older Michael contains an eerily similar mindset to his tough father and echoes a lot of sentiments to himself that was once used to push him to the edge. Having the young and old Michaels sharing the stage was an incredible dance of how humans are shaped in childhood - and the agony it can cause in later life.
MJ The Musical is a perfect example of how theatre can tell a story like no other art form. As the cast took a bow, The Prince Edward Theatre took to its feet for one of the longest-standing ovations I have ever been a part of. This musical is not just a testament to Michael Jackson's legacy of song and dance, it's a testament to the human condition and how we navigate trauma, turning pain into success.
Dancers in their chic 90s clothing warm the audience, 'Five minutes till Michael!' they announce cheerfully, and I don't know what to expect. There's an immediate advantage in the fact that we all know the MJ singles, but would this be another run-of-the-mill cash grab? How far would it dare to explore his problematic past? When MJ (portrayed by Myles Frost) appeared on stage, there were slight missteps during "Billie Jean,", and my hopes weren't high. However, the set design (a rehearsal room in a warehouse) reminds me that this is purposeful, as MJ is on a mission to create the most ambitious show the world has seen yet - The Dangerous Tour.
The story instantly moves at the perfect, lightning-speed pace, dancing between various stages of Jackson's life, always making its way back to the present. First, we are taken to the early days, with Ethan Sokontwe giving an astonishing performance as young Michael, flawlessly synchronizing with a Jackson 5 Medley. He is easily one of the most talented child performers I've seen on stage and dispels any doubt that I have.
When we return to present-day Michael, Myles Frost doesn't waste a moment of the action, he moves with an ethereal, water-like quality, speaks with raw emotion, and sings in such a way that you could easily believe you're listening to Jackson himself. You can see why he is the youngest-ever Tony Award Winner, as he could have you convinced that he's had a lifetime to perfect the art.
The show proves itself to be a masterclass in set design, musical arrangement, vocals, and dance. One minute, you're in the studio; the next, you're in the office of Motown Records. The transitions are seamless, and underneath it all they refer to the past of an extremely troubled man. What makes it impossible to look away is how powerfully his rise to fame is told through the musical arrangements and the extremely talented cast who convey it.
Mitchell Zhangazha portrays Michael as he embarks on his solo career, ad-libbing and experimenting with sounds in the studio until he's dancing to "Don't Stop Til You Get Enough" / "Blame It on the Boogie", offering insight into the early thought process of a man who is on the cusp of revolutionizing pop music while embodying an adolescent MJ perfectly.
Snippets of "Thriller" tease anticipation, leading to a spine-tingling performance that defies expectations. The stage comes alive with haunting lights and visuals, as Jackson falls around only to get back up again to confront his inner demons over and over (and even a zombified version of his father). The stakes are off the scale at this point, you can feel the exhausting perfectionism and trauma seeping from MJ as the music vibrates through your feet. The audience roars praise, applauding the clear impact of Jackson's music on popular culture, but are left stunned at the dark realities of fame.
At points, the writing does become a cliche, but I appreciated how the musical subtly showed topics such as body dysmorphia, family dynamics, and the pressure of being a black musician, rather than outright telling us about them. Big nose' his father calls him during an argument, suddenly the press covers their noses in disgust, the same ones who are constantly torturing him with invasive questions about his appearance. He often tells his team that all of his materials must be bigger, and more perfect than before, better than anything else out there - even if achieving such a thing is impossible. He is convinced that this is what makes the cake', but it's clear that this ambition comes from a place of pain - and on the whole, there is an unsettling awareness that the King of Pop is also the architect of his own downfall.
Regardless of your stance on MJ, the cast alone makes this musical an experience worth watching. Myles Frost, Mitchell Zhangazha, and the entire ensemble of young performers deserve Tony Awards tenfold. Not to mention, the musical is infused with Jackson 5 classics and Michael Jackson's solo hits. In the expansive live setting, you can feel every beat resounding with crystal clarity, and you're bound to leave the theatre seriously impressed.
As with other stand-outs of the jukebox genre Ain't Too Proud, Jersey Boys, Tina Nottage's book and Wheeldon's direction/choreography tap into collective nostalgia without sacrificing of-the-moment vitality
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