Last Updated on January 19, 2026
A SLICK HOMAGE TO A FLAWED ICON
MJ The Musical - Prince Edward Theatre - Review
MJ The Musical gathers one of the most iconic collections of pop music into a single show as close to a Michael Jackson gig as you can get in 2025
Event Type: Event
Event Attendance Mode: OfflineEventAttendanceMode
Event Status: EventScheduled
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Start Date: 2025-02-06 14:59
End Date: 2025-08-31 09:37
Availability: InStock
Availability Starts: 2025-02-06T14:59:27
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MJ The Musical gathers one of the most iconic collections of pop music ever written into a single show that is as close to the excitement of being at a Michael Jackson gig as you can get in 2025, yet ultimately shies away from addressing the elephant in the room or exploring any hitherto-unknown details of his complicated and sometimes problematic life.
When it comes to musical theatre, there are people who love shows full of new and original songs, and those who just want to see a show where they already know all the songs – so-called jukebox musicals. If you fall in the latter camp, then MJ The Musical should definitely be on your must-see list. The show is a veritable medley of mega hits spanning Jackon’s career and a visual feast – a jukebox musical that celebrates the creativity and music of the late Michael Jackson and comes with a considerable production pedigree. The show is directed and choreographed by Royal Ballet Associate Artist Christopher Wheeldon OBE, and the script (and accompanying book) was written by two-time Pulitzer Prize® winning author Lynn Nottage. The show’s original Broadway opening in 2020 was delayed by the Covid-19 pandemic and it eventually premiered in December 2021. Its runaway success there led to its opening in London’s West End in 2023 where it has remained as a fixture ever since, pulling in full houses and garnering awards.
Rather than attempting to be a “cradle to grave” exposition of the artist’s entire life, the show focuses on a very defined moment in Jackson’s life and career when he was preparing for his 1992 world tour. This places the musical (somewhat conveniently) in a timeframe when sexual abuse allegations against Jackson had not yet been publicly made, meaning that there is no narrative need to address the very problematic elephant in the room. There are, however, ample mentions of Michael’s “demons”, allegations of cosmetic procedures, and repeated references to his prescription drug dependency, all of which may help us understand his eccentric behaviour, but leave us none the wiser as to the veracity of the abuse allegations. It is also worth noting at the outset that the production has the support of Jackson’s estate and family and, as such, was never likely to delve into this very problematic aspect of the star’s life.
Nottage said in a New York Times interview in 2019: “We’re not journalists. Folks have to remember we’re theatre artists that are examining the life of this very complicated artist. We can ask certain questions, but our job is not to answer those questions. […] We’re not judge and jury.”. And I feel compelled to point out that if you feel unable to separate allegations about an artist’s private life from their art, then this is not the show for you and will provide no deeper insights into or even commentary on this aspect of his life. At the same time, it bears remembering that as a black musician, Michael Jackson was a towering talent and pioneering voice who broke down musical barriers and demanded inclusion – a successful crossover black artist who achieved stratospheric record sales in traditionally white markets. He has had a profound and indelible impact on popular music and culture over the past 45 years, none of which can be erased or reversed by his personal failings and scandals. Whether or not you believe, as the script pointedly mentions, that the “music should speak for itself” is up to you.
When the curtain (decorated with excerpts from Jackson’s own notebook detailing his creative process) goes up, we see a rehearsal studio where Jackson and his dancers are preparing for his 1992 Dangerous World Tour. The premise is that there is an MTV film crew who has been allowed access to the rehearsals and to interview Jackson. The story of Michael’s life is told via flashbacks prompted by their questions, and through this technique we see vignettes of significant moments in his career as a child star and an emerging solo artist. Throughout the show, there are many references to his domineering and allegedly abusive father Joe and his impact on young Michael and his siblings during their time as the Jackson 5 (later The Jacksons). The gruelling schedule that Joe put the family through is mirrored on stage (as in life) in Jackson’s legendary perfectionism and the demands he makes of his dancers and of himself. To drive home his commitment to his vision for the tour there is a (fictional) denouement of Jackson having to mortgage his beloved Neverland ranch to pay for spiralling tour costs. But much of what he demands for the tour is not fictional – he really did get launched onto the stage at the start of each show of the tour via a “toaster” mechanism surrounded by pyrotechnics. The script works in as many of MJ’s massive hits as possible, sometimes as part of the narrative (I’ll be there is reworked as a tender moment between Jackon’s long-suffering mother Kate and her son), and other times as part of the tour rehearsals – spectacular performances that make you momentarily forget you are not at a Michael Jackson gig.
Trying to stand in the shoes of one of the world’s greatest entertainers must be a daunting task but a task that is impressively performed by Jamaal Fields-Green (who took over the role from Myles Frost in January 2025 and is the only person to have played MJ in the Broadway, West End and US tour productions). Fields-Green’s physical portrayal of Jackson is near flawless, from his razor-sharp dance moves (his moonwalk is a joy to behold!) to his astonishingly pitch-perfect vocals and even his high-pitched breathy speaking voice. Despite the narrative never really digging into the characters’ personalities or motivations, Fields-Green does show us occasional flashes of steeliness beneath Jackson’s usual whimsical demeanour, particularly when fighting for his artistic vision for his tour. The narrative also makes a detour to give a nod to performers who influenced Jackson’s unique dance style, including Fred Astaire, the legendary tap dancing duo the Nicholas Brothers, and choreographer Bob Fosse. One of my favourite sequences in MJ The Musical is an outstanding medley of Jackson dancing with and in the style of each of these three influencers, which eventually segues into a cracking performance of Smooth Criminal.
The rest of the cast of MJ The Musical is no less impressive. Ashley Zhangazha does double duty playing both the aggressive patriarch Joe Jackson as well as the mild-mannered and supportive tour choreographer Rob – sometimes switching between characters in a single scene. His transformation is so skilful that this never confuses, and it is fascinating to see his demeanour change like the flick of a switch. The young adult Michael (circa early to mid 1980s) is played by Ashley’s equally impressive real-life brother Mitchell Zhangazha who takes the narrative through the era of the Jacksons’ Victory tour, the burns Michael suffered filming a Pepsi advert in 1984, and the success of Michael’s iconic Thriller album. Ashley does an admirable job not only with the vocals but also excels both at the Motown moves of the Jackson 5 and Michael’s emerging Fosse-inspired dance style. Elsewhere, Phebe Edwards as matriarch Kate Jackson delivers a cracking vocal performance and resembles a radiant, singing Kamala Harris. The ensemble cast are all excellent as well, combining athleticism and grace over a range of dance styles while doing vocal justice to Jackson’s music.
Musically, MJ The Musical is a canter through much of the music for which Jackson is best-loved, from the early success of Jackson 5 songs like ABC, Blame it on the Boogie and Can You Feel It? through his impressive catalogue of solo hits. I enjoyed the fact that there were a few quieter and more reflective numbers included in the lineup like Man in the Mirror and a personal favourite of mine, She’s Out of My Life. But it is the sheer spectacle and staging of Jackson’s biggest and most iconic hits that really lifts the show. Smooth Criminal is performed in a neon-lit cityscape surrounded by Fosse-inspired dancers. The stage seems to turn into a kaleidoscope of sound and moving colour with Jackson at its centre for They Don’t Really Care About Us. From the moment the single rhinestone glove is taken out of the prop box, the audience holds its collective breath waiting for Billie-Jean and Fields-Green does not disappoint, judging by the whoops of delight around me when he does the moonwalk. And, as I caught a glimpse of the famous red leather jacket from the Thriller video arriving on stage, I was transported back to being a teenager in awe of a 14-minute narrative music video more lavish and original than any the world had ever seen.
While MJ The Musical does not provide any deeper insight into Jackson’s psyche or make any comment on the sexual abuse allegations that have clouded his legacy, it is an enjoyable and near-flawless piece of musical theatre showmanship, characterised by excellent vocal and dance performances, impressive set design and a faithfulness to the grandeur of Jackson’s vision in staging live performances. The music is still fresh and resonates today both with my demographic (who remember the Thriller album being released on vinyl!) and a much younger audience who may not have been born then. It’s the next best thing to seeing Michael Jackson performing live, provided you are willing to overlook the obvious omissions in the narrative.
MJ The Musical is now booking through to mid-August at the Prince Edward Theatre.
Prince Edward Theatre
Old Compton St
London
W1D 4HS
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