Review: MJ Dazzles at Broadway San Jose

I’ve felt that buzz only once before.

It was the 1984 Grammys, and a friend and I were lucky enough to score tickets in the cheap seats at LA’s Shrine Auditorium. Michael Jackson’s Thriller was a global phenomenon, and the excitement was electric even before the award show began. Then a ripple went through the crowd—a wave that started from the back of the orchestra seats to and eventually to the front of the house. We craned our necks to see what had caused the commotion among the constellation of stars below. And then we saw him: Michael Jackson, with Brooke Shields on his arm! We were thrilled. The Michael Jackson. Even in a theater packed with celebrities, he was the celebrity—revered by the revered.  We watched them give him almost god-like worship and it was something that felt, even then, too enormous for one mere mortal to carry on his oh-so-human shoulders.

Last night at Broadway San Jose’s MJ (playing now through August 3), I felt that same electricity when Jordan Markus (OMG, amazing!) first stepped onto the stage as Michael Jackson. The audience’s reaction was immediate and visceral—gasps, cheers, tears. But it wasn’t just applause; it was reverence. For a moment, you could believe Michael himself had returned.

That moment crystallizes what this musical achieves at its best: not just re-creating the King of Pop’s music but channeling his presence—his heart, his genius, and especially his pain. MJ is not simply a nostalgic jukebox musical ride. MJ is a must-see experience. Get your tickets now!

Directed and choreographed with precision, joy and magic by Tony winner Christopher Wheeldon, and written with emotional insight and depth by two-time Pulitzer Prize winner Lynn Nottage, MJ delivers a layered, often tragic portrait of Jackson in the days leading up to his 1992 Dangerous World Tour. What struck me most was how Nottage infuses even the most upbeat songs with emotional weight. Lyrics once heard as carefree now pulse with quiet sadness and almost desperation, especially in scenes tied to Jackson’s childhood and his turbulent relationship with his father, Joseph Jackson (played with chilling authority by Devin Bowles, who also doubles as the tour director, Rob, the other authority figure in the show).

One particularly jarring moment comes when Joseph screams at young Michael (the extraordinary Austin Rankin, in this performance), just before the iconic opening beats of “Thriller” begin. The effect is chilling—it strips away the song’s usual playfulness and reframes it with urgency. What, exactly, was Michael running from in his art? That choice doesn’t just deepen the number; it compels us to view the entire catalog through a more nuanced, human lens.

But the show isn’t all trauma. It makes space for tenderness, too. One of the most moving scenes unfolds when young Michael sings “I’ll Be There” with his mother, Katherine (played with grace and warmth by Rajané Katurah). It’s a rare moment of emotional safety—a lullaby shared between mother and child. Amid the pressure, control, and commodification that saturate the story, this quiet duet offers a necessary refuge. (My son Zachary, a huge Michael Jackson fan and expert, and I held hands during this number.)

Throughout the musical, Michael insists on one thing: he must feel the music. It’s not enough to perform it, each piece must carry meaning even if it means adding elaborate sets or reconfiguring the lineup yet again. This conviction puts him at odds with his handlers, especially his business manager (played with corporate precision by Jed Resnick) and tour director Rob (the wonderful Devin Bowles), who fixate on safety concerns, budget overruns, and profitability. That fault line between the artist’s soul and the industry's machinery runs through the show and gives it emotional heft. We also see Michael’s brilliance and artistry at work. This is where MJ transcends nostalgia and jukebox musical status. It’s not just a celebration of his catalog; it’s a lament as well as a loving look into his process.

From his childhood, Michael was seen less as a person than as a product. Like children born into royality and child stars who become adult stars, he was endlessly watched, rarely contradicted, and relentlessly commodified. The show doesn’t let us forget that cost, even as it dazzles us with Jackson's signature dance moves and familiar, beloved songs.

The entire cast shines—from the electrifying ensemble dancers to Brandon Lee Harris as an earlier Michael. The technical elements are also top tier: Projection Design by two-time Tony nominee Peter Nigrini and Lighting Design by MJ Tony winner Natasha Katz elevate the production and take it to the next stratosphere.

San Francisco / Bay Area Awards - Live Stats

Best Musical - Top 3

1. URINETOWN (Ghostlight Theatre Ensemble)

16.6% of votes

2. THE DAY THE SKY TURNED ORANGE (San Francisco Bay Area Theatre Company / Z Space)

9.3% of votes

3. SWEENEY TODD (Cabrillo Stage)

8.3% of votes

Vote Now!