With an already tremendously successful run under its belt, both on Broadway and in the West End, MJ the Musical shows no signs of slowing down at London’s Prince Edward Theatre.
A new MJ has taken on the challenge of filling the iconic moonwalking boots – Jamaal Fields Green debuted the role and is continuing the brilliance created in Lynn Nottage’s book.
Unlike most surviving MJ related promotions, Nottage’s show is not a gushing celebration of the artist, nor a money-making machine for the Jackson estate – but more so a focus on his music, whilst having an eeriness looming overhead.
The show, which centres around the rehearsal space for Jackson’s Dangerous tour in 1992, alludes to the impending court cases the singer was facing, without going into too much detail. It’s an appreciated reminder that despite his musical successes, the singer was not a hero we should be celebrating without caution.
Nottage’s book bridges this gap with merit, but of course is a hard topic that no musical could ever manage to cover in enough detail if it were to even solely focus just on the scandals. Although there are some allusions – it does feel like an incredibly complex character to fit into a singular musical. With the reins still held by the Jackson estate – it will always be tricky to get particularly deep into the complexity of its muse.
Nottage has carefully studied the singer’s libretto, and crafted a show that utilises music from his entire discography, creating a story which delves deep into Jackson’s persona. The story is a deepdive into his relationship with the spotlight, and his music is used to highlight pivotal moments in his life. Lovely parallels have been made between his childhood experiences, and their repercussions in his adult life – the same actor plays both his manager and father across the show, beautifully mirroring experiences.
Christopher Wheeldon’s award winning direction and choreography is not to be dismissed. He has masterfully assembled a show full of energy, power and talent. Having choreographed the original Broadway show, Wheeldon’s artistry is a force of nature, and has managed to embody the magic of Jackson’s physicality, along with building ensemble tracks from solo songs.
I particularly loved the Fosse/Astaire themed dance in Act 2, which leads seamlessly into Beat It. The ensemble beautifully performs this stunning routine, which blends with Fields Green’s iconic Jackson motifs.
The staging, by Derek McClane, and lighting by Natasha Katz, bring the story to life most spectacularly. Predominantly set in the rehearsal studio for the tour, and broken up by flashbacks to Jackson’s childhood – the scenes flip from industrial, lofty New York to kaleidoscopic visions of Soul Train and 1970’s America, through to Jackson’s later talents. Particular praise must be highlighted for the high-speed journey through Jackson’s discography at the end of Act One, with the most gorgeous transitions. Katz’s jaw dropping lighting is a spectacle to be seen.
Fields Green is no doubt an immense star- his performance is a rocket of energy and skill, having perfectly mastered Jackson’s every mannerism and physicality. Vocally, the set is excellently performed, and although some songs felt slightly struggled – it must not be ignored the immense challenge the score provides. Fields Green dazzles in his dancing – effortlessly performing as the title character – he has managed to master Jackson’s musicality which only a true star has the potential of performing with such ease.
Praise must also be given to Mitchell Zhangazha – performing as teenage MJ – bringing to life the period of the performer’s life breaking out of The Jackson Five, and finding his feet as a solo artist. Zhangazha’s voice is eerily perfect, sounding exactly like the star, but without feeling like an imitation.
As with the continuing success of jukebox musicals in bringing in the crowds, MJ the Musical is no exception to the rule. It is refreshing to see a story which exposes the star instead of showering him with praise, and also without feeling like a MJ tribute show. The music aids the story, as hoped for in a jukebox musical, and the outcome is a show with real versatility, with the expected spectacle that Jackson’s music brings to the table.
★★★★
Reviewed by Annie King
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