MJ The Musical - West End - Review

★★★☆☆

There’s no denying the power of Michael Jackson’s music. MJ The Musical, now playing at the Prince Edward Theatre in London’s West End, is a high-octane jukebox show brimming with iconic hits, notable choreography, and great central performances. But beneath the moonwalk and mirrored glove, the musical leaves its storytelling massively underdeveloped, missing every opportunity for real theatrical depth.

Set primarily in the rehearsal room for Jackson’s 1992 Dangerous world tour, the musical attempts to give audiences a peek behind the glittering curtain. MJ, facing mounting pressures from his team, his finances, and himself, is trailed by an MTV film crew looking to uncover the man behind the music. Through this framing device, we flash back to his childhood with the Jackson 5, his struggles with fame, and landmark moments like recording Off the Wall with Quincy Jones.

Jamaal Fields-Green leads the cast as Michael Jackson with an impressive balance of homage and individuality. This is not a tribute act or an impersonation — it’s a stylised performance rooted in musical theatre. His vocal choices have a theatricality that feels fresh, while his physicality channels Jackson’s energy with astonishing commitment. Fields-Green captures the singer’s gentle voice and signature moves while adding something of his own, which helps elevate the show above the feel of a glossy concert rehash.

He is supported by two other actors portraying younger versions of MJ: Zane Chaba as a bright-eyed child star and Mitchell Zhangazha as the emerging solo artist. Chaba offers a solid turn, but it’s Zhangazha who steals the spotlight. His scenes have a rare emotional spark, and his uncanny embodiment of teenage Jackson, from mannerisms to voice, is the show’s most believable and affecting performance. It was the only moment I truly forgot I was watching a show and got lost in the action on stage.

The undeniable highlight of MJ The Musical is, of course, the music. With an unrivalled back catalogue spanning funk, soul, pop, and R&B, every number has the audience humming, clapping, and quite often singing along in an incorrect key of their choosing. Tracks like “Billie Jean,” “Thriller,” and “Jam” are brought to life with dynamism, thanks in large part to the sensational live band and sharp musical arrangements — although the band does seem to be constantly wheeled on and off stage for no good reason. Even when the numbers don’t quite fit the narrative, the music shines in its merit, an endless string of hits that keep the show at high energy.

Choreography is front and centre, as it should be. Christopher Wheeldon, the show’s director and choreographer, brings Michael’s groundbreaking movement vocabulary to the stage with flair and fidelity. Dance sequences are integrated into the narrative as part of the tour rehearsal setting or during a flashback ‘live’ performance, giving them context within the show. While they don’t serve the storytelling as powerfully as they could, they are certainly beautiful to watch. “Thriller” in particular is a knockout number that blends spectacle and nostalgia perfectly.

The supporting cast deserves their praise. Phebe Edwards, as Katherine Jackson, delivers spine-tingling vocals in “I’ll Be There,” her duet with Fields-Green offering one of the show’s few emotionally grounded moments. Ashley Zhangazha plays double duty as Michael’s father, Joe and the tour manager, Rob, switching roles seamlessly with razor-sharp character work. As Joe, he captures the cold dominance of an abusive father, though the script disappointingly stops short of exploring the psychological aftermath of this trauma, which really restricts what the actor can do with this role.

The production design is polished, if slightly uninspired. Flying set pieces and rolling panels move us to new locations efficiently, but too often a sign post or backdrop is used for a minute maximum before never being seen again — it’s excess for the sake of excess. The lighting design teeters between theatrical and concert-style, at times evoking the excitement of a stadium gig, while sound design delivers… well… volume. At several points, it felt like the show was competing with its own backing track, and my Apple Watch was constantly warning me of the constant high volume.

And then there’s the audience! While not part of the show, and certainly not influential in my enjoyment of the show, the atmosphere was undeniably feral. The attending audience members were having full-blown conversations, loudly singing, filming the show, displaying inappropriate affection (think necking but with extra VAT!), and outbursts were frequent and intrusive — a reminder that a musical with such mainstream appeal will draw crowds unfamiliar with theatre etiquette. While it didn’t ruin the show, it certainly added to a sense of detachment.

It must be said that the cast — Fields-Green, Zhangazha, Edwards, and the ensemble — give their all. The musicians are faultless. The choreography is spectacular. But none of this can overcome the fact that MJ The Musical feels hollow. It dances around the deeper questions of Jackson’s life, offering only surface-level glimpses of the man behind the myth. The stakes are low, the emotional core is underdeveloped. There is no risk, danger or jeopardy for the audience to sink its teeth into, meaning the narrative is a mediocre wash of nothingness, and the script, though peppered with potential, never quite delivers.

The result is a concert experience disguised as a musical. For fans of Michael Jackson’s music, it delivers everything you want to hear, with a side helping of nostalgia (They mention Bubbles the monkey). It is all the glitter, glamour and excitement of Michael, without any of his heart. As a piece of musical theatre, MJ The Musical falls short of being moving or surprising its audience.

As Jackson himself says during the show: “If you want to hear my story, listen to my music.” So save yourself the ticket price and instead listen on Spotify to the most influential man in music.