MJ at Shea’s Buffalo Theater

The King of Pop surely had a storied music career that went from child star to tabloid fodder during his all-too-short life. The life of Michael Jackson, now Broadway musical MJ, ignites the stage at Shea’s Buffalo Theater until June 16. Fear not, the moonwalk, the famous glittering glove and that unmistakable breathy voice are all there, but is it really enough to make a great musical?

It seems that every great singer of the last fifty years has, or soon will have, their own bio-musical, filled with their own personal catalog of songs. Think Tina Turner, Neil Diamond, ABBA, Gloria Estefan, Elvis, Johnny Cash…well, you get the picture. The growing popularity of Jukebox Musical seems to be aimed at New York tourists who are looking for a safe show where they will recognize the music and be entertained with big production numbers. Stringing together random songs to fit into a life story is often a weak attempt to create drama or comedy.

MJ takes place over a two-day period in which Michael prepares for his DANGEROUS WORLD TOUR and employs an in-depth documentary journalist who has limited access to observe and interview the star. We’re in a Los Angeles rehearsal studio in 1992, and through flashbacks and dance rehearsals, we learn the child prodigy’s life story.

Three different actors play Michael, and Roman Banks takes on the 1992 pop icon, and he plays the role with complete conviction. From the breathy vocals to the hooting and clipped falsetto singing, to a hint of childish nastiness, he has Michael under control. But his dancing is what sets him apart: he glides as if in mid-air, contorts himself with precise angular gestures and is dancing in no time. Act II provides glimpses of his idols like Fred Astaire, Bob Fosse and the Nicholas Brothers, but the ensemble was often sloppy and Fosse’s precision was lacking.

Brandon Lee Harris is perfect as the thriller-era Michael Jackson, while Bane Griffith plays the younger Michael, and he warms your heart as he sings the beloved ABC!

The entire cast does double duty, moving from cast and crew from the 1992 tour to family members from the past. Along the way we meet the Jackson brothers, Berry Gordy and Quincy Jones. Anastasia Talley brings a healthy dose of motherly love to the role of Michael’s mother, Katherine.

Christopher Wheeldon’s choreography and direction draw heavily from the well-researched videos of Jackson’s work, and the actors master all the moves we’ve come to expect.

Lynn Nottage’s book is useful, but rarely dynamic. The language is often uninspired and feels like one of those 1970s TV movies. Occasionally there are glimpses of magic, notably at the end of the second act when Michael emerges from a flashback with his family and immediately dances like a madman to release the tension and bad memories that have flooded his existence. The series references his addiction to painkillers, but glosses over some of the more dramatic parts of his later life – the famous fire that burned much of his head could surely have been explored more to add the necessary drama, not to mention its unusual character. behaviors, friendships with stars like Elizabeth Taylor and rumors of his fascination with young children.

His overbearing father (played by Devin Bowles with imposing authority) is the source of Michael’s demand for perfection and precision. This leads to his ultimate need to mortgage his beloved Neverland Ranch to find the final funds needed to make his tour perfect, in his mind.

Mary Kate Moore is Rachel’s investigative report that interviews Michael throughout the rehearsal process. I wanted a more dramatic intention in his portrait, which seemed to tread too lightly on the surface. Jackson’s extensive catalog of music proves that there are plenty of songs to draw inspiration from, but many of the more introspective songs are played more like the B-side of records that rarely impress.

Natasha Katz’s lighting and Peter Nigrini’s projections were exciting and lively, transporting us to the show stage and multiple locations and television/music studios. Gareth Owen’s sound design was most successful in large concert productions, but spoken lines were often garbled and difficult to hear from the back of the orchestra.

The show ends with the requisite group concert number, which brings the audience to their feet, cheering for their MJ. If only the spark felt during the actual production numbers was there for the rest of Michael’s life story…it would have been something much more exciting.

MJ runs through June 16, 2024 at Shea’s Buffalo Theater. Contact sheas.org for more information

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