Review: MJ THE MUSICAL Brings a Powerful Tribute to Michael Jackson to Vancouver

“Wanna Be Startin’ Somethin’” took on a new meaning in Vancouver this week as MJ The Musical debuted at the Queen Elizabeth Theatre on Tuesday for its opening night. The touring production arrived with focus on the making of the 1992 Dangerous World Tour, showing how Michael Jackson (or MJ) shaped every beat and detail. Director and choreographer Christopher Wheeldon and writer Lynn Nottage framed the story around the work, pressure, and collaboration that powered his rise. After drawing large crowds on Broadway and stages across North America, London, Hamburg, and Sydney, the show brought its momentum to Vancouver for a packed week of sold-out shows. 

MJ The Musical began with a focus on Michael Jackson’s creative process during the lead up to the Dangerous World Tour. The goal was to spotlight his process, decisions, and artistic standards through a mix of biography and performance. The project first planned a Chicago tryout in 2019, but the engagement was canceled after scheduling issues linked to an Actors’ Equity strike. The Broadway launch was then pushed from 2020 to 2021 due to the COVID-19 shutdown across New York. 

Photo: Jordan Markus and the Company. Photo by Matthew Murphy. 

The production started previews at the Neil Simon Theatre on December 6, 2021 and opened February 1, 2022. Myles Frost led the company and earned strong praise for his portrayal. MJ received ten Tony nominations and won four, including Best Actor, Best Choreography, Best Lighting Design, and Best Sound Design. The original cast album earned a Grammy nomination. By August 2025, the musical had sold more than five million tickets worldwide and reached $280 million in revenue. The show expanded overseas as well, opening in London’s West End in March 2024. 

The creative team shaped a production anchored in movement, visual detail, and musical precision. Key contributors include scenic designer Derek McLane, lighting designer Natasha Katz, Costume Designer Paul Tazewell, sound designer Gareth Owen, and projection designer Peter Nigrini. Their work carries through every staging, including the North American tour in Vancouver. This foundation leads directly into what audiences saw inside the Queen Elizabeth Theatre this week. 

Photo: Jordan Markus and the Company. Photo by Matthew Murphy. 

The Vancouver audience responded with clear enthusiasm. Every performance in the run sold out, and opening night showed why. The show eases into the story by letting the cast drift onto the stage one by one, similar to the start of a rehearsal. It creates a calm build instead of a loud opening common in jukebox productions. This choice works. It highlights the narrative focus of the musical and keeps attention on the process behind the Dangerous World Tour. Michael’s entrance was still impactful, but it arrived in a stripped down way that fit the rehearsal setting. 

The staging reinforces this approach. Members of the band appear onstage through the night, placed on a moving platform that slides in and out. Most of the show takes place inside the rehearsal space, with scenes shaped around Michael’s thoughts, conversations, and memories. The structure avoids the pattern of a simple biography. It gives audiences a closer look at his artistic drive, his perfectionist habits, and the pressures that shaped him. The flashbacks can feel a bit busy at times, especially when different versions of Michael overlap, but the emotional direction stays clear. The production explores his early years, his major eras, and the relationships that shaped his choices. The result feels personal. Many viewers will leave having learned new details about his work and the weight he carried behind the scenes. 

The musical succeeds in presenting Michael as both an artist and a person. It shows the ambition behind the Dangerous World Tour and his desire to push the project as far as possible. It also touches on his struggles, his family history, and the misunderstandings that followed him. The interviewer aspect of the show took a moment to adjust to, and her presence interrupts the flow in a few scenes, but the role serves a purpose. It gives the story a direct way to surface questions and conflicts that would be difficult to address through dialogue alone. Even with that slight distraction, the emotional core stays strong. The musical raises respect for Michael’s creativity and gives a fuller picture of the man behind the image. 

Photo: The company. Photo by Matthew Murphy. 

The musical highlights the strength of Michael’s catalogue without turning the production into a straight concert. The opening number, “Beat It,” sets the energy in the room and pulls the audience in immediately. The show then moves through several eras including a standout sequence with Little Michael and his brothers performing “The Love You Save,” “I Want You Back,” and “ABC.” These moments land with warmth and strong vocal work. 

“I’ll Be There,” performed by Katherine, Little Michael, and MJ, brings one of the most emotional scenes of the night. Act II begins with one of the most iconic moments in the entire production. MJ steps out with the glove and hat for “Billie Jean,” followed closely by a sharp and detailed staging of “Smooth Criminal.” The reaction from the Vancouver crowd made it clear how effective these numbers were. 

“Human Nature,” performed by MJ and the interviewer, Rachel, feels a bit sentimental, but the emotional intention of the scene is easy to follow. The show picks up again with “Bad” and “2 Bad,” which deliver strong choreography and vocal power. The “Thriller” sequence, complete with zombie costumes and some of the strongest dancing of the night, earned extended applause. The finale builds towards “Man in the Mirror,” performed by the full company, leading to an inspirational ending for the audience to take in. 

Photo: Jordan Markus and the Company. Photo by Matthew Murphy. 

Jordan Markus led the company as MJ with a performance shaped by stamina, precision, and detail. He reflects Michael’s tone, movement, and stage presence with accuracy and control. Markus performs in almost every scene, from intimate flashbacks to large ensemble numbers, and carries the show with skill. This is one of the strongest leading performances seen in a Broadway Across Canada production. 

Quentin Blanton Jr., who plays Little Michael, delivered a standout performance as well. His voice was warm and clear, and he commanded attention each time he sang. “Climb Ev’ry Mountain” became one of the most memorable moments of the night because of his delivery. He was one of the performers discussed most after the show. 

The touring cast features a large group of performers who support the story and music with steady work. Markus holds the distinction of being the first and only performer to play MJ on Broadway, the National Tour, and the West End. He is joined by Melvin Gray Jr. as the alternate MJ, Erik Hamilton as Michael, Bryce A. Holmes and Quentin Blanton Jr. as Little Michael, J. Daughtry as Berry Gordy and Nick, Josh A. Dawson as Tito Jackson and Quincy Jones, Anastasia Talley as Katherine, Cecilia Petrush as Rachel, and several others who fill the ensemble with strong vocals and movement. The company brings precision and energy to each number, creating a cohesive staging across the production.

Photo: Jordan Markus. Photo by Matthew Murphy. 

MJ The Musical leaves a strong impression in Vancouver. The production delivers a clear portrait of Michael’s work, his drive, and the pressures that shaped him. It balances spectacle with personal detail and gives the audience access to the mind behind the music. The staging, performances, and musical choices come together with purpose, supported by a cast that treats the material with care. The sold-out run shows the level of interest in his story, and the production meets that interest with focus and precision. Fans of Michael’s music will find plenty to appreciate, and newcomers will leave with a deeper understanding of the artist who changed pop culture.

MJ The Musical played at the Queen Elizabeth Theatre in Vancouver, BC from November 25 to 30, 2025. The show is approximately 2 hours and 30 minutes with one intermission and is recommended for audiences ages 6 and up. For more information about the show and to purchase tickets, visit the link below.