Theatre Review: MJ The Musical, Prince Edward Theatre - super slick, an absolute triumph
Myles Frost and the original London company of MJ. Image: Johan Persson
⭑⭑⭑⭑
"Study the greats to become the greatest"
MJ the Musical has arrived in the West End after a hugely successful run on Broadway. The musical first opened on Broadway in 2022 and has since won four Tony awards, including best choreography for its British Director Christopher Wheeldon OBE and best performance by an actor in a leading role for Myles Frost. I have a sneaking suspicion the pair will receive further nominations at next year's Olivier awards. The show was written by the incredible Lynn Nottage, who became the first woman in history to win two Pulitzer Prizes for Drama. The Jackson Estate have also been involved in the Production and MJ's children even attended last night's opening.
The Musical is set during the final rehearsals of Jackson's 1992 'Dangerous' world tour. Nottage's script uses the plot device of an MTV documentary filming behind the scenes 'fly on the wall' footage, in an attempt to get up close and personal with the star, something MJ clearly loathes. When questioned about controversy surrounding his family, his alleged surgeries and skin bleaching, he remarks that he wants people to focus on the music. This is exactly what Nottage and Wheeldon set out to do, they wanted the show to be a celebration of an icon and his music. It frustrates me somewhat to read reviews lamenting the 'elephant in the room' not being addressed, alluding to some of the more nefarious allegations that plagued him during his later years. This is a show celebrating an icon and his talent and it's on these grounds that the show should be judged.
Wheeldon's choreography and direction is an absolute triumph and his super slick set pieces and staging are some of the best I have seen in the West End. The show-stopping reimaginining of 'Thriller', 'Billie Jean' and 'Beat It', had the crowd in raptures and at times even on their feet hungry for more, and they delivered with hit after hit and even the occassional fantasy dance duet with Fred Astair and Bob Fosse. From the first note you could almost feel the audience 'lean in', they were invested in the story, arrested out of themselves and immersed in this journey showcasing many of the King of Pop's greatest hits. The staging and lighting created a perfect backdrop for this talented ensemble to work their magic. The reinvention of 'Thriller' and it's staging was a particular highlight.
Amidst all the showstopping set-pieces there were some quieter, more emotional interludes, including one memorable scene where MJ and his mother Katherine (Phoebe Edwards) sing 'I'll be there'', when in fact she wasn't, and it's in these moments we see a man tormented by the demons of his childhood. His father 'Joseph' (Ashley Zhangazha) is a menacing force and a key antagonist, whipping MJ and his older brothers if they missed a single step, working them to near exhaustion in order to achieve what he believed to be perfection. The timeline shifts between present day 'Dangerous' rehearsals, early childhood, the days of the Jackson Five, Motown and stepping out on his own and finding his voice. MJ's difficult relationship with his father is well-documented but it's still a hard watch, particuarly in moments where he mocks his appearance; his nose, skintone which we know led to countless surgeries and even accusations of skin-bleaching which he repeatedly denied. Jackson is constantly surrounded by managers, agents, other artists, fans, yet seems quite alone and the ghost of his father looms as he drives himself to near exhaustion in his pursuit of perfection.
There are slower moments in the show that dip in and out of past traumas and relationships, spiralling finances, an ever increasing addiction to prescription medication and the pitfalls of fame, however they never get too deep before we are again swept away by another starry reinvention of his most loved work. Most of the touchstones to darker truths are prompted by tenacious videographer (Philippa Stefani) who is desperate to learn more about the icon, his inspiration, drives and ultimately what makes him tick, but he almost always keeps her at arms length. The documentary is effective in that it speaks to the endless press intrusion and darker side of fame which befell this legendary artist.
The performances are incredible, particuarly Myles Frost who is sensational as MJ. The voice is jaw-dropping, you close your eyes and swear you are listening to the man himself! He moves like MJ too and although meticulously rehearsed and crafted it doesn't feel gimmicky. Frost previously said he did not want to impersonate MJ but rather pay homage to him. As a performer he really embodies the man through his voice and body but we don't get to see enough of his acting because the dialogue pieces are few and far between. Frost is so in his body it is a delight to witness and he gives the air of a seasoned performer, it's obvious he knows this world and its music so well. Frost really embodies MJ's tireless work ethic and at times exacting nature, expecting perfection from everyone at all times alongside his more vulnerable, child-like qualities. Frost like MJ appears to be most comfortable when performing, the stage feels like home.
The young MJ's and teenage reincarnation are amazing to watch as is Phoebe Edwards who is a powerhouse vocalist as Jackson's mother and Ashley Zhangazha who seamlessly shifts between business manager and father. The rest of the ensemble cast are a delight to watch and in moments it really does feel like the audience has a backstage pass.
Great theatre should be arresting and feed the soul, and by the looks of many an audience member leaving the theatre, it did just that.