MJ THE MUSICAL

Prince Edward Theatre

★★★

“a stellar cast and jaw-dropping technical wizardry”

Michael Jackson is one of the most chronicled yet enigmatic pop icons in history. ‘MJ the Musical’ attempts to demystify the legend, exploring the demons that haunt his artistic genius. Despite this ambition, the production only partially succeeds in illuminating a tortured soul, ironically lacking a little heart itself.

‘MJ the Musical’ rewinds to 1992, detailing the tense lead-up to the legendary Dangerous World Tour. Ambition collides with adversity, mounting pressures threatening to derail MJ’s exacting artistic vision. He’s plagued with traumatic flashbacks to his troubled upbringing, and we see the ‘man in the mirror’ as damaged and doubtful, striving for absolute perfection at any cost. Still, a quiet hope lingers. Will it find its voice?

Written by Lynn Nottage, the show has a stylised flair, shifting seamlessly between real-time and flashbacks through a single actor who plays both Jackson’s domineering father and concerned choreographer. The result is a Jekyll and Hyde-esque switch between tenderness and tyranny with an intrusiveness echoing buried trauma. The narrative drive is less strong, sticking to a narrow window in Jackson’s life which sidesteps later controversy. The continued flashbacks start to feel repetitive, despite ending with a slightly more nuanced scene. The dramatic tension goes nowhere: a climactic, nightmarish ‘Thriller’ is followed by a beautiful but narratively underwhelming ‘Man in the Mirror’ (cue megamix). A documentary crew sneaking incriminating footage raises the stakes, only to fizzle out in a rose-tinted dreamscape. The result is a flat emotional arc despite literally being in his head.

Christopher Wheeldon’s direction is sharp, bringing out standout performances across the cast. Scenes are seamlessly integrated with technical elements, the ambitious staging mirroring the scale and spectacle of Jackson’s historic tour. Though the shift to the Hollywood Hills during the final interview, while visually striking, feels a little ungrounded. Wheeldon’s real strength (rightly recognised with an Olivier) is the choreography, moving fluidly through time and space while delivering iconic moves we know and love. It’s sharp, rhythmical and complex, seamlessly blending storytelling into the dance itself.

With music, orchestrations and arrangements by David Holcenberg, Jason Michael Webb and Strange Cranium, the show delivers fantastically rich renditions of Jackson’s pre-1992 classics. The medleys are a particular delight – flashy, fun, and offering welcome reprieve from the confines of the studio. Unusually for a jukebox musical, the songs don’t feel shoehorned in, the rehearsal framework instead offering more freedom. That said, one strength of jukebox musicals is casting familiar songs in new lights, and while ‘Thriller’ is delightfully distorted, most of the other songs remain faithful to their original interpretations.

The technical and design aspects are phenomenal, with scenic design (Derek McLane), lighting (Natasha Katz), sound (Gareth Owen), projection (Peter Nigrini), costume (Paul Tazewell), make up (Joe Dulude II), and wigs and hair (Charles G. LaPointe) uniting in an impressive feat of creativity and execution. The sheer variety is mindboggling, let alone their impeccable delivery. My favourite moment is the ending – no spoilers – which is everything it’s hyped up to be before collapsing in on itself like a black hole. Stunning.

The cast is superb overall, with Jamaal Fields Green and Mitchell Zhangazha absolutely nailing Jackson’s speech, dance and gentleness while delivering flawless vocals. Matt Mills rises to the challenge of the demanding Joseph Jackson/Rob, switching effortlessly between cold and considerate with rich vocals to boot. The ensemble shines in diverse dance styles and heartfelt vocals, though larger numbers lag slightly behind the band. The on- and offstage band is superb, driving the energy throughout.

‘MJ the Musical’ delivers a heartfelt if slightly sanitised glimpse into the mind of a controversial man. It shoots for perfection, landing sheer spectacle, a stellar cast and jaw-dropping technical wizardry. But when it comes to emotional depth, it pulls its punches. Would I recommend it? Absolutely. Just don’t expect to learn more about the King of Pop than you already knew.

MJ THE MUSICAL

Prince Edward Theatre

Reviewed on 15th October 2025

by Hannah Bothelton

Photography by Matthew Murphy

Previously reviewed at this venue:

DEAR ENGLAND | ★★★★★ | October 2023

AIN’T TOO PROUD | ★★★ | April 2023

MJ THE MUSICAL

★★★

“a technological marvel with a political and social edge”

Interviews are a game and interviewers hold all the cards… right? But what if someone changes the rules? ‘Interview’ explores the nature of perception, truth and controlling the narrative in this technologically brilliant battle of the sexes. Though for all its tricks, it lacks punch.

Adapted and directed by Teunkie Van Der Sluijs, ‘Interview’ is a story of turning assumptions into ammunition. Katya, social media star turned actor, is tired of the world editing her narrative and arranges an exclusive interview so she can finally be ‘seen’. Her reluctant interviewer, Pierre, believes the ‘puff piece’ beneath a ‘senior analyst of international affairs’, though we later learn why he’s fallen from grace. The interview is a power struggle, each fighting for control. One wins. Though at what cost.

Produced by Douglas Denoff and based on the 2003 screenplay by Theodor Holman and film by Theo Van Gogh, Van Der Sluijs’ adaptation brings this commentary on the power of perception partly up to date. Katya’s social media prowess is evident in her word-perfect livestreams and adept cinematography. In fact, her curated self is the perfect foil to the transparency she claims to seek. Meanwhile, Pierre’s downfall is ego and privilege, made all the more stinging by today’s age of self-awareness. However, I take issue with the gender dynamics. Katya’s character relies on tired tropes, such as the manipulative, vengeful woman whose sole aim is to bring down a man she’s just met. It makes her less believable and is rather disappointing given how fresh other elements of the adaptation feel.

Van Der Sluijs’ direction ingeniously uses social media to create dramatic irony. Phones are a pervasive third party, creating a secret window into Pierre and Katya’s private worlds and revealing things they would rather hide. In fact, the tech is fantastic. The seamless combination of set (Derek McLane), lighting (Jackie Shemesh), video (idontloveyouanymore) and sound (Ata Güner) allows messages and notifications to pop up in real time on the rear wall of the stage, perfectly capturing the feel of our digital world (including how it can be overstimulating at times). Sometimes the actors themselves are projected, and this strategic shift from actors to images heightens the disconnect between reality and social media. A truly impressive and masterfully executed collaboration.

Costume design (Bernat Buscato) drives the narrative, as Katya’s continual changes contrast with Pierre’s immutable presence. Katya also strips her public persona to reveal increasingly relaxed (and interestingly more covered up) versions, a great nod to the final reveal. The varied soundscape (Güner) mirrors the power struggle, Katya shifting the energy even when Pierre resists.

Robert Sean Leonard as Pierre and Paten Hughes as Katya both give stirring performances. Leonard broods and plots, bringing a gravity that belies his troubled past. Hughes fizzes and disorientates, fluidly flipping through roles and keeping Pierre off balance. A little more slickness would bring out their clashing energies even more; currently, some of the exchanges feel a little sluggish when they should crackle with wit. However, this is early in the run and I’m sure the sparks will fly in time.

‘Interview’ is a technological marvel with a political and social edge. Some elements soar; others stumble. Katya could use a modern edge, but at least she’ll ignite debate on gender and power.

Tag Archives: Derek McLane

MJ THE MUSICAL

★★★

Prince Edward Theatre

MJ THE MUSICAL

Prince Edward Theatre

★★★

“a stellar cast and jaw-dropping technical wizardry”