MJ the Musical continues at the Prince Edward Theatre, London until Saturday 28 February 2026.
Star rating: three stars ★ ★ ★ ✩ ✩
Perhaps the influence Michael Jackson’s catalogue had on the recording industry as well as on music fans in general – particularly in the 1970s and ’80s – is sometimes hard to comprehend for those born decades later, but for me – who grew up during those decades – the endless stream of hits performed in MJ bring on a powerful wave of nostalgia.
In many ways Christopher Wheeldon’s production features familiar jukebox musical tropes; in this case an interviewer from MTV, allowed access to rehearsals for Jackson’s forthcoming Dangerous World Tour in 1992-3, becomes the conduit by which the superstar can reflect on his life and career up to that point.
However, Wheeldon and writer Lynn Nottage have made a decent attempt to create something more original than a chronological rundown of significant personal and professional events. Instead, the storytelling is more engaging and sophisticated than that, and while there are a lot of musical set-pieces, there is an attempt for those to advance the narrative rather than just be slotted in between scenes.
Sometimes this approach pays off and the audience gets some limited insight into the emotional pressure Jackson felt he was put under by his disciplinarian father Joe, right from when he began performing as a child as part of the Jackson Five.
Fast forward and there is also some discussion of the performer’s addiction to pills as he tries to manage the demands of rehearsals and the rising costs of creating a tour that will repeat the success of previous triumphs.
Despite all these efforts though, the drama can lack tension which can make the pace of the piece feel rather pedestrian on occasions, resulting in an emotional disconnect with the events being played out onstage.
Where MJ spectacularly comes alive on all levels is in the musical sequences during which all the topnotch creative elements, not least Wheeldon’s stunning, award-winning choreography, merge with the first-class talent of some of the lead players and high-energy, dedicated ensemble (the dance scene recognising the influence of the Nicholas Brothers, Fred Astaire and Bob Fosse is particularly memorable).
Standouts also include ‘I’ll Be There’, ‘Wanna Be Startin’ Somethin’’ ‘Beat It’, ‘Thriller’, ‘Smooth Criminal, all performed by a fine band led by musical director Sean Green. Set designer Derek McLane, lighting designer Natasha Katz, costume designer Paul Tazewell sound designer Gareth Owen and projection designer Peter Nigrini’s visually arresting canvas adds even more impact.
Jamaal Fields-Green, the only performer to have played the role of MJ in three of the global productions of the show, offers a phenomenally detailed portrayal of the ‘King of Pop’, from the quietly spoken artist behind the scenes struggling with debilitating insecurity to the innovative song and dance man who changed the face of popular music.
Great support is given by Matt Mills as he smoothly switches from playing Joseph Jackson to tour manager Rob, and Lydia Sterling makes a lasting impression as Kate/Katherine, not least for her vocal interjections.
And then there’s Mitchell Zhangazha as ‘middle’ Michael who must tackle some of the iconic musical moments in Jackson’s early solo career. The hugely charismatic and talented Zhangazha has great stage presence, never letting his energy levels dip, even when he is subtly sliding back into the ensemble after playing the main man. He always delivers.
This show will continue to tick all the right boxes for many Michael Jackson fans and there are already plans for a major UK Tour in 2027. Others may find the timeline of the show, just before any accusations of sexual abuse were made against the performer, a bit too convenient to feel comfortable (the controversy is never mentioned). It’s a debate that shall continue for however long the production is running but it should never be used to diminish the excellent job casts like these are doing.
Lisa Martland
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