Trying to be more than a tribute act, yet still pleasing fans, makes for an interesting conflict within this hit show about the King of Pop, Michael Jackson. A biography of Jackson’s life up to the fabled Dangerous tour of 1991, there’s a lot of material, expertly handled by director Christopher Wheeldon, leading to numerous hits peppering the action. If you want the songs, you’ll get them… but there’s something more interesting struggling to emerge. The ambition here is bigger and that is to be applauded, even if that ambition isn’t quite fulfilled.
The smart move is getting acclaimed playwright Lynn Nottage on board to make a characteristically clear and sensible contribution. Of course, there’s Jackson’s early life and speculation on how that affected him. The story of juvenile stardom ends up moving. It’s true that we never question Jackson’s genius, even if we see him as stubborn to the extent that he frustrates everyone and bankrupts himself. And the show is easy on mad moments and scandal. Instead, Nottage gives us a celebration of the artist’s imagination, a journey into his creativity. And that’s actually more interesting.
The songs are broken down, experimented with, by David Holcenberg and Jason Michael Webb, who are responsible for the interesting orchestrations and arrangements. Extravagant sets and costume design (Derek McLane and Paul Tazewell) are called for and delivered. And for Wheeldon, who is also the show’s choreographer, it is Michael Jackson and dance that come to the fore. There’s a potted history of those who inspired him: the music and the movement always go together and this is some of the best dancing you can see in the West End.
It’s a shame, and an irony not lost on anyone involved, that Jackson’s biography, well, gets in the way. The device of a journalist (a neat role for Philippa Stefani) sums it up: while sympathetic, she can’t help trying to find a scoop. The character points out that Jackson’s trauma trumps his art. But a similar thing happens to MJ as well. The show itself tries to use personal pain (linking the song ‘Thriller’ to his father is spectacular). But the approach isn’t consistent, and too much of the time songs are crammed in. We’re told this is what Jackson wanted – for his songs to come first – but it means the musical becomes one just for his admirers.
In the end, the success of the show comes down to the performances, which everyone can enjoy. A strong ensemble dances magnificently and an excellent supporting cast includes Ashley Zhangazha, who plays Jackson’s father and tour director brilliantly. And there are three Michaels, each fantastic. A child performer is sure to win applause, while Mitchell Zhangazha takes on early hits with fantastic skill. The star is the Jackson of the Dangerous era, played by Jamaal Fields Green, who is stunning. It isn’t a question of impersonation. These performers must share the power of one of the most charismatic performers ever. That Fields Green, who has also performed the role on Brodway and the US national tour, so fully convinces is an incredible achievement.
Until 21 June 2025
Photo by Matthew Murphy
