MJ the Musical, Prince Edward Theatre review — tedious Michael Jackson jukebox show can't get started

Unlock the Editor’s Digest for free

Roula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter.

Soft-spoken, charitable, visionary, an exacting but kindly boss, quick with a smile and an inspiring phrase: not since Jesus Christ Superstar has the West End hosted such a saintly protagonist as the hero of MJ the Musical, aka Michael Jackson.

This sanctified figure has materialised in the Prince Edward Theatre after packing ’em in on Broadway, where the jukebox musical version of Jackson’s life has grossed more than $180mn since 2021. Myles Frost, who played the singer in the original New York production, is reprising the role in London. Judging by the queue stretching round the block to get in, the ringing cash tills will also be reprised.

The action is set in 1992. Jackson is practising for his forthcoming Dangerous tour with a band and troupe of dancers in a rehearsal studio. Cue “Beat It”, sung by Frost in accurate mimicry of the singer’s high voice and danced with lots of gliding feet, spins and crotch-clutching. An MTV reporter (Philippa Stefani) is on hand to ask him about his life. Cue flashbacks to child stardom in The Jackson 5 under the bullying control of his father Joe (Ashley Zhangazha).

These two narrative strands proceed in tandem. In the potted history of the singer’s rise, the younger Michaels are played by a rotating cast of child actors and Mitchell Zhangazha as the teenager. Meanwhile, we see Frost as the adult Jackson preparing for the Dangerous tour, beset by press harassment and money problems. He won’t resile from the $100mn that he intends to raise for charity (cue “Earth Song”). Nor will he compromise his artistic vision (cue “Keep the Faith”). During an oddly trusting convo with the MTV reporter, the media-loathing star waves aside rumours of bizarre behaviour and skin-bleaching.

The only flaw of this Jackson is perfectionism, drummed into him during childhood by his violent father. “Elephants sleep standing up so they’re always ready to go,” he says in his gently fluting voice. And what about the other elephant in the room, the child sex abuse allegations? It too slumbers. The musical’s chronology neatly sidesteps the issue, bringing the curtain down as Jackson begins the Dangerous tour. The first claims of abuse were made during the tour, in 1993, causing the rest of the dates to be cancelled.

A more challenging staging might have taken this hinge point in his life — at the peak of fame, yet on the verge of a controversy that would torpedo his reputation — and made something interesting from it. But unsurprisingly that isn’t the Jackson estate’s ambition for MJ the Musical. Despite its pedigree — the book is by playwright Lynn Nottage, the only woman to win two Pulitzer prizes for drama, while ballet eminence Christopher Wheeldon is director and choreographer — the production’s main rationale is to get as many songs on the jukebox as possible. Cue ecstatic applause for “Thriller”, “Billie Jean” etc. 

Recommended

Frost dances fluently, although his Jacksonian tics become wearying. The set pieces with the dance troupe are unexceptional. The cast members’ singing is generally better than their acting and the backing band is solid. The evening boils down to a decent Michael Jackson impersonator doing song and dance routines, padded out with an inert storyline, trite dialogue and hagiographic characterisation. Jackson’s canonisation is indigestible, but the hefty mitts for the hits suggests that his music still conquers all.

★★☆☆☆

Booking to December 7, london.mjthemusical.com