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

★★★★

“This is a campy and silly way to spend an evening, but feels festive and fun”

This is a rollicking rollercoaster of a panto. Written by Will Brenton and directed by Clive Rowe (who also stars) it remains true to the classic traditions while feeling decidedly fresh and joyously fun. There are many old favourites, with the audience prepped to shout out ‘he’s behind you’ and ‘wakey-wakey’ at every opportunity, but it never feels tired or obvious (well, no more than a panto should).

The story of Dick Whittington is a pantomime staple, though it is a little convoluted. For those who don’t know, Dick heads for London, is gifted a magic talking cat by the Fairy Bowbells and arrives to a city not paved with gold, but beset by rats. He gets a job, falls in love and his cat chases away the rats. Then he and the gang head off to sea, in search of goods to sell and riches to be made. When they arrive back in London, Dick becomes Mayor and they all live happily ever after.

The plot is not really important. The show is about the musical numbers, dancing and groan-worthy puns. Kandaka Moore, as Dick, and Aryana Ramkhalawon as Alice, valiantly perform their more serious plot line. They showcase their beautiful vocals and carry the show’s message, which is the importance of striving for your dreams. It’s nice to have a woman playing Dick, and makes their storyline feel more modern, as it matters less that Alice is a slightly undeveloped love interest. Their romance is sweet and provides an emotional note to offset the silliness.

Graham MacDuff is fabulous as the deliciously evil rat king, dressed as a steampunk with a tail. He rocks out to remixes of Backstreet Boys and Chappell Roan, just some of the exquisitely playful music from Steven Edis. It’s delightfully silly.

Kat B is excellent as Tommy the Cat, especially during his solo, where black light and neon puppets are used to produce the most incredible effect of floating under the sea. It is a sudden and startlingly beautiful piece of direction.

However, the unquestionable star is Clive Rowe as Sarah the Cook. He commands the stage with cheekiness and flair, toeing the line perfectly between naughty and family friendly. Everyone in the audience, regardless of age, is eating out of his hand. He’s particularly joyous with Hackney panto staple Tony Timberlake, where they have a chance to play off each other and improv a little. Rowe’s musical numbers are rich and boppy, his puns awful but wonderful and his stage presence is unparalleled.

He wouldn’t be the star he is, however, without costume designer Cleo Pettitt. Each costume change is more outlandish and higher concept than the last – some favourites include a cash register, a pepper grinder and an entire cruise ship.

The supporting cast all ooze with panto giddiness, especially in dance numbers by choreographer Shay Barclay. Jemima Dawes and Alfie Simmons are particularly fun as cartoonish rat villains. Particular ensemble standouts are Olivia Kate Holding’s crystal-clear vocals, showcased in a short solo, and Fraser Stewart who gives every dance number 120% energy. Also, the Hackney Empire Young Ensemble who play the rat chorus and villagers are charming and adorable.

This is a campy and silly way to spend an evening, but feels festive and fun. It’s not stuck in the past and is a great night out for the whole family.

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MJ THE MUSICAL

★★★

Prince Edward Theatre

MJ THE MUSICAL

Prince Edward Theatre

★★★

“a stellar cast and jaw-dropping technical wizardry”