Review: MJ THE MUSICAL at Gammage Auditorium

MJ the Musical glides into Tempe's Gammage Auditorium as a vibrant tribute to the music and dance of Michael Jackson. Directed and choreographed by Christopher Wheeldon ("An American In Paris") and featuring a book by Pulitzer Prize winner Lynn Nottage ("Intimate Apparel"), the production offers an entertaining journey through Jackson's iconic career.

Set against the backdrop of MJ's 1992 Dangerous World Tour rehearsals and preparations, it is a memory play with flashbacks cued by an MTV reporter tossing out questions. It can’t be ignored that this approach conveniently ends the story before the most controversial and upsetting events of Jackson’s life come into view. Made more noteworthy by the participation of the Jackson estate in creating and funding the show.

From the outset, it’s clear the producers have spared no expense in assembling a top-tier creative team. Derek McLane, a two-time Tony and Emmy Award winner for scenic design; Natasha Katz, a seven-time Tony Award winner for lighting; and Paul Tazewell, a Tony and Emmy Award winner for costumes, ensure that every visual element is polished and precise. Their collective expertise transports audiences into the heart of Jackson's most memorable performances.

However, the inherent constraints of the jukebox musical format hinder the production. Some songs feel shoehorned, or abbreviated, or have an unsuccessful re-theming. One notable misstep is the staging of 'Thriller,' which attempts to infuse the campy horror classic with a sense of gravitas but ends up feeling more cringeworthy than compelling. You simply can’t turn something campy into serious without just making it more campy. The result is reminiscent of  “Spooky Mormon Hell Dream” from The Book of Mormon or the bizarre visit to hell in the last few moments of Disneyland’s Mr. Toad’s Wild Ride.

Nevertheless, the show's standout performances elevate it just above its flaws. Roman Banks commands the stage as the titular MJ, capturing Jackson's magnetism and artistry with every move. 

His portrayal is complemented by the talented ensemble, who execute Wheeldon's dynamic choreography with precision and flair. Drawing on his background with the New York City Ballet, Wheeldon infuses the production with energy and excitement, showcasing Jackson's iconic moves in a fresh and dynamic way.

Rarely off-stage, the ensemble performs Wheeldon’s intense choreography with exhaustive precision, creating a breathtaking vision of athleticism and grace.

Brandon Lee Harris shines in the role of the young Jackson, navigating the complexities of fame and family. He delivers a captivating performance that captures the essence of Jackson's early years. 

At its best, MJ the Musical is a celebration of Jackson's pre-controversy legacy, brought to life through electrifying dance numbers and powerhouse performances. At its worst, it is an attempt to soften and/or refocus Jackson’s legacy.

Awash in the flood of jukebox musicals (Tina Turner, Cher, Alanis Morisette, Carole King, Gloria Estefan, and on), it doesn’t stand above the crowd. Maybe if these shows were more spaced out they could earn more favor. Jukebox musical fatigue is real.

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