Review Roundup: MJ Launches National Tour

Rachel Weinberg, BroadwayWorld: Is MJ THE MUSICAL a fun and entertaining musical that treats audiences to many of Michael Jackson’s iconic hits? Yes. Does MJ also demonstrate why bio jukebox musicals are tricky? Yes. In the musical, MJ emphatically tells fictional MTV reporter Rachel that he wants to be remembered for his music. But can the art be separated from the artist, or are the two intertwined in all their messy, complicated ways? I don’t have an answer to that question, but I think MJ struggles with making the struggles and demons of a complex person — the real-life Michael Jackson — seem simplistic.

Chris Jones, Chicago Tribune: The movement in the show is recognizably in the Jackson gestalt, but it’s not a replication. It’s a fresh, independent, complicated and often dazzlingly beautiful choreographic suite, as interpreted not by actors who dance but by dancers, first and foremost. Now that I’ve seen it a couple of times, my admiration has only grown for how well Wheeldon satisfied the imperative of offering people the moves they think they came to see while at the same time extending everyone’s choreographic vocabulary, both presentationally and emotionally. It’s a brilliant fusion of originality and reference, art and commerce, homage and the subtlest of challenges to the record. And it’s fabulous to watch, just like the King of Pop.

Madeline Holly-Carothers, Q City Metro: Each of the three versions of Michael delivered, but Roman Banks — the oldest MJ and pseudo-narrator of the show — is almost like a reincarnation of the pop star. The inflections in Banks’ voice, his singing and his movements were everything I would expect from the King of Pop. At one point in the show, someone yelled, “Go ‘head, Mike!” It was like the audience had forgotten Banks wasn’t the real thing.

Jeffrey Kare, BroadwayWorld: Leading the cast as MJ himself is Roman Banks. He gives a dynamic performance, successfully capturing the essence of the real Michael Jackson in terms of both physicality and vocals without ever coming across as an impersonation. Brandon Lee Harris and Josiah Benson (who went on at the performance I attended) both do a great job of portraying Middle Michael and Little Michael, respectively. I found Mary Kate Moore to be charismatic as Rachel, the reporter who interviews MJ during the making of his Dangerous tour. Anastasia Talley gives heartfelt work as Michael’s mom, Katherine Jackson.

Ada Alozie, Houston Press: Don’t expect to learn anything new that you didn’t already know. MJ the Musical, playing now at Broadway at the Hobby Center, dazzles. It doesn't illuminate. His father, Joe, was abusive. His desires to breakaway from the Jackson 5/The Jacksons banner and become a solo artist were not well received from some members of his family. He and Quincy Jones created timeless albums. He was lonely and was notorious for an eccentric sense of arrested development. He had a monkey named Bubbles and a home called Neverland.

Dallas Voice, Dallas Voice: While a jukebox musical, MJ played up a lot of the singer’s creative tenacity in getting the show just perfect. Many of the songs were used smartly to move the story forward. But the beauty of Jackson was the joy that his songs brought to the audience as the high energy numbers yieled huge applause and folks clapped or grooved in their seats to all the other songs. Banks’ moonwalk was spot-on and brought the house down. Perhaps that’s all what the audience wanted – to remember the time when Jackson’s talents were alive in this world – but MJ the Musical and this cast and crew delivered more than just the hits – they delivered magic.

Jay Irwin, BroadwayWorld: The book by the incredible playwright Lynn Nottage is an embarrassment. With forced and heavy-handed dialog, most of the impetus for the story is from the faux questions from the reporter. At which we proceed to learn that Michael’s father Joseph (Devin Bowles) was a monster, physically and mentally abusing his kids and working them to the bone. And we learn this about him over and over and over again. All of this goes to paint MJ as a victim of his upbringing and attempts to justify any troublesome things he did himself, assuming we ever really talk about them at all. They portray him as a diva, perfectionist, child but when they try and talk about anything icky, they moonwalk past it as quickly as possible.

Alisa Hayashida, South Pasadenan: The exhilarating numbers come fast and furious, from iconic moments like The Jackson Five on The Ed Sullivan Show and Soul Train – when young Michael (Josiah Benson/Ethan Joseph) puts on that iconic 70’s purple hat for their Soul Train debut, it’s a moment – the paradigm shift that occurred when he moonwalked across the stage during the live broadcast of Motown 25, to his record and groundbreaking Thriller, Beat It, and Smooth Criminal videos. A heart and show-stopping, mid-show standing ovation came after the culmination of Thriller ends in Jackson winning 9 Grammys in one night. I have never seen this in my life and it certainly felt like the minutes long ovation was just as much for Jackson himself as for the performers on stage. Even 15 years after his death, it’s clear he still has super fans with people actually screaming “We love you, Michael!” from the audience as if they were indeed at a concert.

Russell Tom, SoCal Thrills: “MJ” is the most incredible biographical musical ever put on stage. It’s more than just a faithful tribute with flashy costumes and imitations set to a recorded soundtrack, it’s an emotional concert that strikes a heart-pounding chord. Full of heart, soul, and irresistible charm. You can’t beat it—the best and only Michael Jackson experience you’ll ever need or find.

Nancy Van Valkenburg, Gephardt Daily: In nearly every song, Banks comes surprisingly close to the sound of the artist he portrays. Jackson died in 2003 at age 50, of course, but “MJ” seems to capture his spirit. The musical, brought in by Zions Bank Broadway at the Eccles, continues through Sunday with nightly shows and some matinees.

Tyler Hinton, BroadwayWorld: Roman Banks as MJ (with Jamaal Fields-Green as his alternate) and Brandon Lee Harris as Michael are two sides of the same coin, each representing the late king of pop at different ages of his life with empathy and volumes of talent.

Pam Kragen, San Diego Union-Tribune: At the show’s center is the ultra-talented “King of Pop” himself, a whispery-voiced and tortured overachiever who lightly narrates his life story during the 2-1/2 hour show while at the same time revealing very little about himself. As entertaining as the show is, particularly in the stronger second act, Jackson remains an enigma to the end.

Tim Shawver, BroadwayWorld: 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.

Michael Quintos, BroadwayWorld: The stage musical, which debuted on Broadway in 2021, shrewdly executes this bit of focal redirection by providing its audience with a non-stop barrage of dazzling, breathlessly-performed musical numbers, while also hinting that the show's seemingly odd titular figure—via a broadly evasive but still serviceable book by Lynn Nottage—is, at his true core, just a smart, endearingly awkward, and unfairly misunderstood music genius, whose eccentric quirks, bashful demeanor, and peculiar proclivities are simply a direct result of having a traumatic childhood that he is refusing to talk about with an inquisitive journalist.

Christopher Smith, The Orange County Register: Beyond its glittering wealth of songs, “MJ” gets an unreserved rave for its dances and dancing. One would hope that casting an adult Michael who can dance is paramount — more about Jamaal Fields-Green, Tuesday night’s “MJ,” below — but the stellar ensemble is an MVP collective.

Kathleen Allen, Tucson.com: There were some amazing performances in this road show, including Devin Bowles, who portrayed Michael’s abusive father and his coddling manager. He seamlessly moved from one character to the next and was persuasive in each.

DC Felton, BroadwayWorld: Visually, 'MJ: The Musical' is stunning to watch. Part of that comes from the vision of director and choreographer Christopher Wheeldon, who recreates some of Jackson's iconic moves and highlights some of Jackson's influences. The top of Act 2 taps into some of those dance influences, and it's amazing to see how each of his influences go into making some of Jackson's iconic moves. But the stunning visuals don't stop there. Costumer Paul Tazewell has been able to recreate many of Jackson's most iconic looks. We get to see Derek McLane's set, which seamlessly takes the audience on a journey between the rehearsal studio and Jackon's past, but also, at times, we break into Jackson's imagination. The lighting of Natasha Katz enhances all this and gives the show the feel we could be at a stop on the Dangerous Tour.

Alan Portner, BroadwayWorld: This is a super cast. In this cast we actually have three Michael Jacksons. Banks is the adult Michael. Brandon Lee Harris is a teen/young adult Michael. Michael as a child is played by either Josiah Benson or Bane Griffith. All are excellent. The documentarian Rachel is played by Mary Kater Moore. The rest of the cast plays multiple parts. Outstanding recognition must go to the ensemble of this show. The dancers are incredible. MJ is not an easy show. These folks are in for a super work-out each night.

Victor Wishna, KC Studio: As one might expect for a production that worked hand-in-sequined-glove “by special arrangement with the Estate of Michael Jackson,” the image reflected is nuanced, but noble. The man in this mirror is a misunderstood genius whose talents will transform music, dance, and global pop culture, and whose demons drive him to a multitude of extravagant and odd behaviors—but nothing that would tarnish a legacy. Neverland Ranch, Bubbles the Chimp, hyperbaric chambers, plastic surgery, rumors of skin-bleaching, financial distress, even addiction—all are relatively fair game. Charges of child sexual assault—not so much.

Jared Fessler, BroadwayWorld: Jamaal Fields-Green took on the iconic role of MJ with a captivating performance that went beyond mere impersonation. Through his exceptional vocal prowess, impeccable dance moves, and heartfelt portrayal, he breathed life into the character, earning thunderous applause from the audience. Brandon Lee Harris, portraying Michael during his formative years, delivered a standout performance, paying homage to Jackson's roots with a soulful rendition of 'You Can't Win' from 'The Wiz.' Bane Griffith, portraying a young Michael, delighted the audience with infectious energy during the Jackson Five hits, prompting sing-alongs and applause. Devin Bowles as Joseph Jackson and Anastasia Talley as Katherine Jackson formed a compelling duo, infusing their roles with sincerity and emotion, particularly in poignant moments such as Anastasia's rendition of 'I'll Be There' and 'Man in the Mirror.'

Jacob Aloi, MPR News: Jamaal Fields-Green played the adult Jackson, referred to as “MJ,” for the performance I saw. The role is taxing, requiring the performer to sing like Jackson, move like Jackson and talk with Jackson’s iconic, giggling whisper. Fields-Green excels at most, although I don’t think anyone could master the King of Pop’s idiolect.

Mark Bretz, LaDue News: With ‘alternate’ Jamaal Fields-Green delivering a spectacular performance in the title role on media night, the touring company of “MJ the Musical,” the hit Broadway musical about the meteoric rise of singer, songwriter, dancer extraordinaire Michael Jackson, is a rousing, exhilarating tour de force in its debut at The Fabulous Fox.

Jacquinn Sinclair, wbur: The incredibly talented cast — three of whom portray Michael Jackson at different points in his life — explored the star’s life through song and hinted at his troubles around the costly 1992 Dangerous World Tour. The Tony Award-winning show, which flashes back and forth in time, has a book by Pulitzer Prize-winning playwright Lynn Nottage and is choreographed and directed by Christopher Wheeldon.

Marin Heinritz, Revue: Though the conceit of “MJ” is quite simple, the elevation comes from brilliant execution from start to finish. From Pulitzer Prize-winning playwright Lynn Nottage’s clever book to Tony Award-winning choreographer and director Christopher Wheeldon’s brilliant vision, and all the world-class performers who bring this tale to light—part live music video, part concert, part biopic woven together like a brilliant musical memoir driven as much by innovative dance as anything else, “MJ” is wonderfully entertaining, hugely moving, and raises the bar for what jukebox musicals can do.

Roy Berko, BroadwayWorld: I was totally blown-away with the dynamism, creativity and showmanship of MJ, and was on my feet, along with the rest of the screaming stomping and clapping audience at the conclusion of this sumptuous show! (Make sure you stay for the ear-shattering, visually over-load of a curtain call!

Christine Howey, Scene: For those who love Michael, his moves and his music, this show is a feast of more than 40 songs played fully or in part. And the special effect that ends the show is an oldie but goodie that launches the audience to its feet.

David Friscic, BroadwayWorld: Pulitzer-prize winning playwright Lynn Nottage’s book and a lead performance that thrills are the locks that hold this ingeniously conceived project together. From the razor-sharp opening song “Beat It” to a finale that has the ensemble of the show approaching the apron of the stage to implicate the audience with the challenge from Jackson’s transformative song “Man in the Mirror”: “…If you wanna make the world a better place, Take a look at yourself and make that Change”, this is a musical that is truly transformative.

William Powell, DC Theater Arts: Now at the National Theatre, MJ is a jukebox musical that plays like a concert. It will have you rocking in your seat. It features phenomenal dancing but is short on story and pathos — though it does touch on the price of fame and how much Black achievement is driven by adversity. The musical book, by Pulitzer- and Obie-winner Lynn Nottage, jumps around in time — it’s not a chronological buildup to Jackson’s later hits from his earlier ones.

Eric Colchamiro, MD Theatre Guide: The musical can also be a loud, pop concert of a show. As the first act plows through 13 different songs, Tazewell’s costumes are often bright, the pace is fast, and the sound of Jackson’s music reverberates throughout the 189 year-old National Theatre. As much as Nottage is a talented writer, this is a show that is intended to be more of a celebration of Jackson’s music instead of a deeper look into a dark and troubled man. The audience sees reference to tabloid headlines, and the cracked imagery Nigrini projects on stage reminds you of Jackson’s controversies during the second act. Yet Michael’s issues do not, and perhaps cannot, be the center of this jukebox musical for it to succeed.

Christina Mancuso, BroadwayWorld: Jamaal Fields-Green convincingly embodies the King of Pop’s nuances, iconic dance moves, and vocal agility. His bashful smiles and soft spoken whispers seamlessly morph into the expressive falsettos and vocal hiccups that Jackson was most famous for. And he adeptly moves and gracefully moonwalks across the stage with exceptional ease, giving homage to his most influential dancers who also made appearances in the show: The Nicolas Brothers (Zuri Noelle Ford and Brion Marquis Watson), Fred Astaire (Matteo Marretta), and Bob Fosse (Croix Diienno).

Joni Lorraine, BroadwayWorld: Jamaal Fields-Green, the only person to have played the role in all three global productions, on Broadway, on the National Tour, and in London’s West End, is an exacting and calculated MJ. It's difficult to tell if Fields-Green as an actor is exacting in his role, or if MJ was exacting with his persona. It is understandable that Fields-Green holds such a distinction to have been cast for each of these productions. Josiah Benson gives Little Michael a sparkling joy and innocence, while Erik Hamilton does a great job of playing Michael as a young adult seeking a life of his own.

Tulsa World, Tulsa World: .

Greg Kerestan, BroadwayWorld: This is no biographical fluff like Summer or Beautiful, and no explosion of joy like Rock of Ages or & Juliet. This show has its moments of fun and excitement, and is certainly not what you'd call grim or dour, but it is unrelenting and grueling in its exploration of MJ's past and psyche. (I saw a commentator online who said that "MJ is the black All That Jazz," and they weren't wrong: the influence of Bob Fosse's surrealist bio-musical is STRONG in this show.)

Katherine Kiessling, Times Union: “MJ,” under the brilliant direction and choreography of Christopher Wheeldon, is eager to sweep audiences away from this tension and instead propel them into a full throttle jukebox spectacle. As the show barrels through 40 hits from both Jackson and Motown’s catalogs, it’s an easy ride to board. The framing device of the rehearsal lets major hits slide naturally into unexpected places (an electric “Beat It” kicks off the show) and Jason Michael Webb and David Holcenberg’s arrangements bring new perspectives to familiar songs. “Thriller,” for example, takes on a sentimental, stripped down start before exploding into dazzling splendor.

J. Peter Bergman, Berkshire Edge: The actors in this show seem to be fine, but it is hard to identify any of them as their characters, mostly due to the uneven sound quality at the theater. What shines through, however, is the extraordinary dance talents of the company of 22 dancing bodies. They seem to never stop moving from the on-stage pre-show warmups to the post-curtain-call dance steps. The show’s choreography replicates the Jackson originals but seems to go further to tell us that the talents surrounding him were always in motion. It is MJ’s need for perfection that keeps him motivated, and when we see familiar showstoppers, they seem even more incredible in this show.

Bill Kellert, Nippertown: The cast is one of the most evenly filled with amazing talent to grace the stage in a long time. From the outstanding Jamal Fields-Green as MJ to the supporting roles and the ensemble, this production overflows with an embarrassment of riches.

Christopher Arnott, Hartford Courant: As MJ, the biggest of the three manifestations of Michael Jackson in the show (which also gives us Josiah Benson and Bane Griffith alternating performances as Jackson 5-era “Little Michael” and Erik Hamilton as the Quincy Jones-era solo star simply dubbed “Michael”), Jamaal Fields-Green is imbued an intense Jackson energy. He doesn’t overdo the high shy voice and he’s able to command the stage while being appropriately reticent and withdrawn in MJ’s interactions with other characters. His dancing isn’t quite as angular and precise as the real thing, but it’s more than close enough. His moonwalks and glides are exceptional. The dancing is at least as important as the singing in this show . This is not to say that Fields-Green doesn’t have a voice. His sustained notes of “She’s Out of My Life” are astounding.

Mark G. Auerbach, Mass Live: Although the production values and performances are superb, MJ is really an overblown, high-octane tribute show. Those who love Michael Jackson’s music will be thrilled. Those who want to know more about Jackson’s creative process and backstory may be underwhelmed. I fell into the latter category, and left at intermission, because the show had peaked too early on, and had nowhere else to go.

Average Rating: 77.1%