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

★★★★★

“Stephen Mear’s choreography dazzles and blinds you”

We live in an age where the word ‘gender’ can spark hot debate and a furious character count on people’s twitter (sorry – ‘x’) feed. Indeed, gender discourse has changed greatly since “La Cage Aux Folles” opened on Broadway four decades ago, at the time breaking many barriers by becoming the first Broadway musical centred on a same sex relationship. So much so that Tim Sheader’s current staging lays itself open to accusations of being dated. And yet, the production rebuffs all of that and rises way above it. There is no question of discussion, or of dissecting its relevance and resonance today. It is simply a celebration. One that is bursting with pure joy and spectacle – full of hope and other sentiments that belong to the human heart irrespective of the rhythm it beats to.

From the overture to the finale, we are drawn into the world of these larger-than-life characters. We are told from the off, by the deliciously diverse and garish troupe of ‘Cagelles’, that “what we are is an illusion”. Illusion or not, they are magical. As is every other aspect of this authentic, feel-good show that, deep down, honours old fashioned and revered values of loyalty, family, solidarity and acceptance. It is only in retrospect that this analysis becomes clear – at the time we are just swept along by the warm tide of music and dance.

Set in 1970s St Tropez, it is more ‘Prom, Prom, Prom!’ than French Riviera. Colin Richmond’s eye-catching set captures a fading grandeur that stands proud against the evening backdrop but when you get up close you see the peeling walls and mildew, reflecting the by-gone era and authenticity that refuses to be glossed over. Pan out again and Stephen Mear’s choreography dazzles and blinds you. The ensemble is ever present, watching from the wings; smoking, laughing, winking or yawning. But when they emerge and take centre stage their dance moves are fearless, faultless and simply stunning.

“The laughter and the pathos are continually battling to steal the limelight, but they end up in a glorious double act”

Jerry Herman’s score is at once recognisable and stylishly fresh. The intellect isn’t overburdened, but the passion and romance are loud and clear. As the first act closes, we almost feel like we have reached the grand finale as Albin (Carl Mullaney) delivers a searing, defiant and heartfelt “I Am What I Am”. Rejection has never been portrayed with such authenticity.

Albin’s partner Georges (Billy Carter) hosts the ‘Cage Aux Folles’ nightclub where Albin headlines as his alter ego ‘Zaza’. Along with George’s son Jean-Michel (Ben Culleton) from a brief dalliance with the now absent biological mother, they form the most unconventional conventional family unit imaginable; supplemented by in-house maid/butler Jacob (a show-stealing, mesmerising, gender-fluid Shakeel Kimotho). Loyalties are stretched to breaking point when Jean-Michel announces his engagement to Anne Dindon (Sophie Pourret). Her father is head of the ‘Tradition, Family and Morality Party’, whose goal is to shut down the local drag clubs, of which George’s is the flagship. Albin is persuaded to absent himself for the upcoming visit of Anne’s parents, the consequences of which inform the hilarious and farcical second act.

The laughter and the pathos are continually battling to steal the limelight, but they end up in a glorious double act. The chorus line moves as one, yet each member’s individuality shines through. Although the plotline is a touch on the thin side, it is fleshed out by Harvey Fierstein’s witty script and, of course, Herman’s music and lyrics. But what really brings the house down is the talent on display, the presentation, and the sheer flamboyance of the performances – all of whom deserve mention. There is no roof at the open-air theatre, but by curtain call there wouldn’t have been anyway: the standing ovation raises it way out of sight.

Tag Archives: Rishard-Kyro Nelson

MJ THE MUSICAL

★★★

Prince Edward Theatre

MJ THE MUSICAL

Prince Edward Theatre

★★★

“a stellar cast and jaw-dropping technical wizardry”