“I aim to focus on my music,” expresses MJ the Musical. This sentiment comes as no surprise. The musical unfolds against the backdrop of the rehearsal phase of the 1992 Dangerous world tour – notably a year preceding any allegations of sexual misconduct against Michael Jackson – effectively skimming over much of the controversy that plagued his legacy. While it showcases iconic moonwalks, a string of chart-topping hits, and a wealth of biographical content, there is a conspicuous void. MJ the Musical presents a sanitized portrayal of the King of Pop’s life, yet the reality is far from a straightforward narrative.
Telling the story of Jackson’s rise to fame through a musical lens was bound to pose challenges. Firstly, there’s the perennial issue faced by jukebox musicals: how to seamlessly integrate well-known songs into a cohesive storyline? Then, there’s the desire to shed new light on a figure who was both a global sensation and a figure shrouded in mystery. However, these hurdles pale in comparison to the shadow cast by Jackson’s own contentious legacy. He was always an enigmatic and deeply controversial figure. Since the impactful 2019 HBO documentary, the persistent allegations of child sexual abuse are impossible to overlook.
Despite this backdrop, Lynn Nottage’s script chooses to steer clear of these controversies, opting instead to delve into the psyche of a troubled celebrity. While Jackson grapples with discomfort regarding the media, his manager persuades him to allow two MTV journalists to create a documentary about the tour. Initially envisioned as a narrative solely focused on Jackson’s musical odyssey, the documentary takes a different turn as it captures his reliance on painkillers, extravagant show demands, and the toll it takes on his exhausted crew. Jackson’s eccentricities reminiscent of Peter Pan gradually come to the forefront, prompting a reevaluation of their journalistic approach.
Backed by the Michael Jackson estate – staunchly refuting the allegations – the musical advocates for the superstar’s right to privacy. The production vividly portrays instances of Jackson being besieged at press events, with striking video projections by Peter Nigrini. The journalists surrounding him exude a palpable hunger and desperation. While blame for Jackson’s megalomania is shifted onto his team, there’s a reluctance to hold the superstar solely accountable, allowing his actions to largely go unquestioned.
Myles Frost, portraying Jackson as a dynamic and multifaceted character, grapples with visions of his father, driven by a relentless need to prove himself. The narrative swiftly traverses his journey to stardom, from his early performances with the Jackson 5 to his solo album recordings, his mesmerizing voice always a captivating marvel. The audience revels in his greatest hits: Thriller transforms the stage into a vivid nightmare, while the rendition of Man in the Mirror prompts enthusiastic singing from the spectators. As MJ the Musical’s inventive concepts materialize into a captivating spectacle, the stage pulsates with neon lights and gravity-defying choreography.
Acknowledging the ethereal charm of Jackson’s music is undeniable. With his fan base remaining robust, this West End adaptation is poised to draw crowds. Yet, can we truly watch a theatrical performance and overlook the scrutiny that surrounds his music? While some may separate Jackson’s art from the artist, as Frost takes his final bow and the audience erupts into applause, a sense of unease lingers – a discomfort that is hard to shake off.