MJ: The Musical takes audiences behind the scenes of Michael Jackson’s 1992 Dangerous world tour rehearsals, using the quasi-framing device of an MTV documentary team attempting to capture the man behind the music. Through this setup, the show revisits Jackson’s extraordinary rise to global superstardom, interweaving over 25 of his most iconic hits—from Billie Jean to Thriller—alongside moments from his complex personal and professional life. Written by two-time Pulitzer Prize winner Lynn Nottage and directed and choreographed by Christopher Wheeldon, MJ premiered on Broadway in 2022 before transferring to London’s Prince Edward Theatre in 2024. Following Olivier Award recognition for Best Choreography and a two-year West End run, the production continues to enjoy global acclaim with upcoming tours announced for the UK and Asia.
At the heart of the London production is Jamaal Fields-Green, whose central performance as MJ is nothing short of commanding. His ability to inhabit the icon’s physicality, vocal inflections, and emotional nuance is astonishing, bringing both the superstar and the man to life with rare authenticity. Fields-Green’s control and precision in dance sequences are matched by an understated vulnerability in quieter moments, particularly in scenes exploring MJ’s artistic perfectionism and troubled family past. His performance anchors the show throughout, often elevating material that struggles to find coherence.
Joseph, portrayed with gravitas and conviction by Matt Mills, delivers a powerful performance as both MJ’s domineering father and as Rob, his manager. Mills’ versatility allows him to balance menace and empathy, giving depth to a figure who could easily have been one-note. Lydia Sterling, as both Katherine Jackson and Kate, demonstrates excellent vocal skill—her warm tone shines in ensemble numbers—but her dual role feels underused dramatically, with the script affording her few opportunities to expand beyond musical support.
The multi-rolling across the cast—though executed with admirable clarity by skilled performers—sometimes contributes to a disjointed and jarring overall rhythm. Characters blur and vanish without resolution, leaving emotional threads hanging. It’s a shame, because the performers themselves are exceptional, their energy and precision driving much of the show’s spectacle.
Visually, MJ is a triumph. Derek McLane’s set design is sleek and versatile, moving fluidly between rehearsal rooms, recording studios, and dreamlike concert environments. The show’s strongest visual moments arrive when Wheeldon and his creative team abandon realism entirely: the stylised press conference scene and the Thriller sequence are breathtaking examples of what this production does best—layering lighting, movement, and projections to create sensory impact rather than narrative realism.
Peter Nigrini’s projection design is particularly effective, conjuring archival footage, stages, and surreal visual motifs. Natasha Katz’s lighting design amplifies this, bathing the stage in flashes of gold, crimson, and ultraviolet that echo Jackson’s iconic performances while still feeling fresh and theatrical.
The choreography, while often thrilling, occasionally suffers from excess. Wheeldon’s background as a ballet choreographer lends grace to many sequences, yet at times the direction feels overwhelmed by too much simultaneous action—particularly in ensemble-heavy numbers where competing focal points distract from the emotional core. Nevertheless, when it works, it really works: Thriller and Beat It are electric, combining razor-sharp movement with palpable energy from both cast and audience.
Where MJ falters most significantly is in its storytelling. The quasi-framing device, an MTV documentary, feels underdeveloped, offering little beyond a flimsy reason to move between scenes. It never truly interrogates Jackson’s public and private selves, nor does it justify its existence dramatically. The result is a show that feels more like a montage than a cohesive narrative journey.
By the finale, the audience has been dazzled by musical brilliance and design ingenuity but left without emotional closure. Key moments of Jackson’s life are glossed over or entirely omitted; more delicate or controversial aspects of his story are either sanitised or ignored. What remains is a celebration of the performer rather than an exploration of the person – a missed opportunity given the calibre of the creative team involved.
Some songs integrate beautifully into the storytelling, with some feeling organic and deeply resonant, while others appear shoehorned in to maintain momentum. This unevenness contributes to the sense that the musical wants to say something profound about artistry and fame but ultimately settles for spectacle, tropes and a lack of emotional depth.
There is no denying MJ’s visual and performative brilliance. With an exceptional central performance from Jamaal Fields-Green, superb lighting and projection design, and moments of true choreographic excellence, the show delivers an exhilarating theatrical experience. Yet its narrative hesitancy and uneven structure prevent it from achieving greatness.
When MJ embraces abstraction and becomes a dreamscape of music, movement, and memory, it soars. But when it tries to tell a linear story, it stumbles. As a tribute to Michael Jackson’s artistry, it is dazzling; as a piece of dramatic storytelling, it is less assured.
MJ plays at the Prince Edward Theatre until Saturday 28th February 2026 ahead of a major UK tour in 2027.
Leave a Reply