Myles Frost and the company of MJ the Musical at the Prince Edward Theatre, London. Picture: Johan Persson
MJ the Musical continues at the Prince Edward Theatre, London, booking until 7 December 2024.
Star rating: four stars ★ ★ ★ ★ ✩
MJ the Musical is a jukebox musical which focuses on Michael Jackson (MJ) and his crew in a rehearsal studio on the final two days before embarking on the legendary 1992 Dangerous World Tour. The show opens with ‘Beat It’, one of Jackson’s most famous songs, danced passionately and precisely by the stellar ensemble, echoing the world-class performances MJ and his dance ensemble would have given on the tour.
Having the show set in a rehearsal studio enables the audience to get an insight into how the Dangerous Tour’s rehearsals would have operated. However, it is unfortunate that the show does not cover more of Jackson’s life. There are glimpses of his early career but these are not always coherent and sometimes the timing of certain flashbacks is unclear.
The evening is dense with show-stopping numbers though, including ‘Wanna Be Startin’ Somethin’’, ‘Earth Song’/‘They Don’t Care About Us’ and ‘Thriller’. There are countless ‘wow’ moments in this musical, primarily due to actor Myles Frost (a Tony Award winner for the Broadway production of the show) and the ensemble’s dancing, as well Derek McLane’s amazing sets (including large, neon lights on sky-high buildings which were Jackson’s choice for ‘Smooth Criminal’) and Paul Tazewell’s fabulous costumes (for example, the zombie costumes for ‘Thriller’).
The fast-paced direction from director/choreographer Christopher Wheeldon, resulting in short pauses between each song, helps to engage the audience throughout the entirety of the show.
Cleverly, Wheeldon has chosen to have some of the cast, who have smaller parts than others, to sing onstage on occasions which ensures that there are great backing vocals at all times.
The casting of this show is perfect. When Frost is on that stage, he undeniably is MJ. The performer manages to nail every detail of Jackson’s persona, so much so that he oozes charisma even when he is in the background. He fascinates the audience with each song, having perfected Jackson’s vocals, and is able to execute MJ’s instantly recognisable style dance moves as if they are his own.
Mitchell Zhangazha plays Michael very well. He dances with energy and passion, while the scenes with his father stay truthful and heartfelt.
Ashley Zhangazha plays both Joseph Jackson and Rob smartly. He flits between playing each character (often within the same scene) with distinction, ensuring that the audience is clear about which one he is representing in every moment.
The ensemble is incredible: they are some of the most versatile dancers that I have ever seen on a West End stage. Their ease and precision with every dance move makes them an unparalleled and dream-like group. The stunning choreography is like nothing else you will see in any musical running at the moment.
Some other standout performances are from Rohan Pinnock-Hamilton, Marie Finlayson and Milan Cacacie. Although they are all mainly in the ensemble, they give amazing, entertaining performances. I found myself constantly watching them.
However, some of the characters seem superfluous, including those related to the characters of Rachel and Alejandro. I do not feel as though their scenes add anything to the story. The script can also be quite basic and predictable.
Some critics will point out that the show avoids acknowledgement of the abuse allegations made both in the singer’s lifetime and posthumously but then the focus unsurprisingly is firmly on the Jackson back catalogue and his artistic achievement. Within this remit it succeeds as an enjoyable night out featuring a first-class ensemble and an undeniably strong lead, perhaps even one of the best shows currently running in the West End.
Lucy Tracey
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