Dazzling ‘MJ the Musical’ brings Michael Jackson’s hits to Bass Hall
While Michael Jackson’s later days were filled with controversy and split decisions over his innocence or guilt, there is no questioning the late King of Pop’s talent.
From his days as the young wunderkind making headlines with his brothers in the Jackson 5 to astounding folks the world over as an adult, Jackson was unequivocally one of the greatest performers ever. Even though he’s been gone since 2009, now and for many years to come, people will be stopping whatever they are doing to enjoy such classics as “Billy Jean” or “Beat It.”
And I still believe the “Thriller” video should have been nominated for an Oscar for Best Short Film in 1983.
Those songs and many more are in “MJ the Musical.” The show is playing at Bass Hall through May 18 as part of Performing Arts Fort Worth’s Broadway at the Bass Series Presented by PNC Bank.
What you won’t find, however, is anything connected to the allegations that took him from the stage to a courtroom. If that’s what you’re looking for, this is not that show, with the timeline stopping a year short of the first accusations.
But if you’re wanting an evening filled with a repertoire of the songs that crafted a musical legend, this is that show. Encompassed within the music is a look at how Jackson’s vibrant life onstage clashed mightily with the one he lived when the lights went down.
The jukebox musical focuses on the life of Jackson before and up to the start of his Dangerous World Tour starting in late June of 1992 Already facing a plethora of pressure for expenses the tour had incurred even before it began, he set a goal to raise $100 million for his Heal the World Foundation by Christmas of 1993.
The tour did surpass that mark — which is around $218 million today. It actually wound up going to a variety of charities, including his own.
The story features Jackson, or MJ, (played by Jordan Markus ) during rehearsal for the start of the tour. They are a couple days from opening in Munich, Germany.
Enter a documentarian, Rachel (Rajane’ Katurah) and her cameraman Alejandro (Anthony J. Garcia). Despite his disdain for the media, Jackson opens up to her.
A genuine connection is evident between Markus and Katurah, a must for this element of the story.
Jackson elaborates on a variety of memories, from his youthful days with his brothers to some joyful times collaborating with Quincy Jones (Kendrick Mitchell) — with whom he created the iconic album “Thriller” — to career-launching days with Berry Gordy (Jay McKenzie) and Motown.
He also delves into some dark experiences from his childhood that spotlight his abusive father and manager, Joseph Jackson. Played in chilling fashion by Devin Bowles, he pushed his sons incessantly to succeed, while also giving them some haunting memories.
Bowles doubles as Rob, manager of the Dangerous tour. He balances exasperation with attempts to encourage MJ, who, like his dad, can never find the perfection he searches for.
Superstars must come to an understanding that their life will never be the same as the many people who adore them. Most adjust accordingly, but some never fully grasp the difference.
Elvis, for example, couldn’t set foot outside Graceland in the light of day for fear of being mobbed and this brought him misery. Jackson experienced a similar scenario, demonstrated when he disguises himself as a janitor to continue his conversation with Rachel after she is asked to leave.
Jackson had a childlike sense of humor, evidenced by pelting his financial manager (Jed Resnick) with a water pistol as he’s telling MJ they are running out of money. We see it elsewhere as well, such as when he tells Rob “If we don’t do it, God’ll give it to Prince” and when he asks if Bubbles (his pet chimpanzee) can go to a press conference in his place.
There’s even a nod to the 1984 Pepsi commercial when Jackson’s hair caught fire. He got one of the show’s biggest laughs when he said, “I don’t even drink Pepsi!”
Markus flawlessly straddles the line between the powder keg of energy fans saw in Jackson with the emotionally soaked man trying to hide in his own world. He perfectly captures Jackson’s singing voice that ranged from a high tenor to a falsetto, along with his often just above a whisper speaking voice.
It’s all magnified by the dazzling choreography from Christopher Wheeldon, who is also the director. He won a Tony Award for his dance work on the Broadway production.
And yes, Markus does the Moonwalk marvelously.
The music is the real star of the show. That should come as a surprise to no one.
It is, after all, a compilation of Jackson’s greatest hits, ranging from the upbeat pop/soul/R&B sound of the Jackson 5, Jackson in his early solo days and Jackson when he reached another stratosphere.
Kudos to the actors playing Jackson in his younger years, Bane Griffith as little Michael and Erik Hamilton as teenage/young adult Michael. Their solid performances make the transition between the different Michaels seamless, with MJ even performing alongside them sometimes.
Also, credit playwright Lynn Nottage and the Michael Jackson Family Estate for not presenting MJ as a saint. While they could have delved deeper, they don’t shy from the fact that Jackson had personal demons, including his battle with pain killers.
Again, this is not that show. This is the show about a tormented talent who escaped into his incredible music just as his fans did — and still can.