This article first appeard on Reel Time with Richard.
A good fireworks show begins with a “wow” and ends with a “WOW,” filling the space in between with enough peaks to fuel our anticipation. MJ: The Musical, based on the life of Michael Jackson, follows that formula almost exactly.
The action has barely begun when the title character (an amazing Jamaal Fields-Green) launches into an MTV-worthy rendition of the Jackson classic “Whip It.” Then, nearly 2½ hours later, the show is only minutes from its finale when it delivers the song-and-dance number we’ve all been waiting for: “Thriller.”
And by the way: When I say “delivers,” imagine the word being followed by multiple exclamation points. The number is so over-the-top astounding that it alone would nearly justify the original Broadway production’s Tonys for choreography (Christopher Wheeldon, who also directs), lighting design (Natasha Katz) and sound design (Gareth Owen).
In between these two high points, it must be said, the production falls a bit short of a good fireworks show’s standards. There are impressive peaks here and there, but there are also valleys that slow down the momentum.
Set in 1992 during a rehearsal for Jackson’s upcoming “Dangerous” world tour, the jukebox musical addresses some of the rumors then swirling around the “King of Pop.” These are uncovered with help from nosy documentary maker Rachel (Cecilia Petrush) and her cameraman, Alejandro (Anthony J. Garcia).
Through flashbacks, the show also introduces us to two earlier Jackson incarnations: the Jackson 5’s pipsqueak frontman (alternately played by Josiah Benson and Bane Griffith) and the young adult seeking to launch a solo career (Erik Hamilton).
Also featured in the flashbacks are the rest of the Jackson family, including the mom, Katherine (Anastasia Talley), and dad, Joseph (Devin Bowles). Bowles plays the latter as a domineering bully who pushed his talented children relentlessly and was particularly abusive toward young Michael.
The implication is that Joseph’s behavior was responsible for MJ’s later problems, but the argument is only partially convincing. To some extent, that’s because Jackson had so many problems and eccentricities, some of which didn’t come out until after the musical’s time frame, that it’s hard to pin them all on any single source.
Despite his flaws, the one undeniable thing you can say about Michael Jackson is that he was a showman of the first degree, and MJ is most successful when it concentrates on that fact. Along with singing, dancing was obviously central to his appeal, and his devotion to the craft comes out brilliantly in an Act II fantasy that shows him trading steps with virtuosos who apparently inspired him: Fred Astaire, Bob Fosse and the tapdancing Nicholas Brothers.
Though all of the cast members sing and dance well, it clearly takes a special skillset to portray someone as unique as Michael Jackson. In the original Broadway production, Myles Frost filled the bill and thereby won the show’s fourth and final Tony.
In the current touring production, Fields-Green displays the voice, the moonwalk and all the other flourishes that won the King of Pop his title. (Jordan Markus alternates in the role at some performances.)
Fields-Green’s portrayal, backed up by a stellar band and some of the most awe-inspiring stagecraft you’ll ever see, makes MJ a pulse-quickening trip down memory lane.
MJ: The Musical runs through Sept. 15 at the Ohio Theatre, 39 E. State St., Columbus. Showtimes are 7:30 p.m. through Friday, 2 and 7:30 p.m. Saturday, 1 and 6:30 p.m. Sunday. Running time: 2 hours, 40 minutes (including intermission). For ticket information, visit columbus.broadway.com. For information on future tour stops, visit tour.mjthemusical.com.
