Michael's story, mostly: Incomplete 'MJ the Musical' still dazzles
“MJ The Musical” - ★ ★ ★
Around 7:35 p.m. Wednesday at the James M. Nederlander Theatre, “MJ the Musical” actors and instrumentalists were taking their places on stage as one of the actors announced: “five minutes to Michael.”
Latecomers scurried to their seats while more cast members strolled onstage. “Three minutes to Michael,” the actor announced.
Excitement intensified. “One minute to Michael,” he said as the percussion kicked in, followed by the opening riff from “Billie Jean.” A door opened upstage revealing Roman Banks, the lithe, exciting star of the Michael Jackson jukebox bio-tuner, which opens its inaugural tour in Chicago.
The Nederlander audience cheered. They danced in their seats. They mouthed the lyrics. Their applause was accompanied by mid-performance ovations that stopped the show - twice.
Slick, solidly crafted (for the most part, despite a few clunky scenes in the second act) and superbly choreographed and danced, “MJ the Musical” celebrates Jackson's genius (the score includes more than 30 of his songs), acknowledges his eccentricities (Bubbles the chimp gets a shout out) and recalls in unsettling detail his trauma-inducing childhood.
But the show - produced “by special arrangement with the estate of Michael Jackson” - skims over controversies involving his personal life, including charges of child molestation (for which he was acquitted) and lawsuits alleging improper behavior (which he settled out of court).
That said, director/choreographer Christopher Wheeldon's production is undeniably entertaining. His singer/dancers are top-notch, and he has in the talented Banks a leading man who speaks in Jackson's breathy tenor, re-creates his crystalline vocalizations and hiccups and executes flawlessly his distinctive moves. Irresistible tunes and exhilarating dance animate this show, and for Michael Jackson fans, that is enough.
The time is 1992. The place is designer Derek McLane's industrial-looking Los Angeles rehearsal room (to which Natasha Katz's lighting and Peter Nigrini's projections add zing) where Banks' MJ is preparing for his upcoming, multicontinent “Dangerous” tour. Two-time Pulitzer Prize winner Lynn Nottage (“Sweat,” “Ruined”) frames the briskly paced narrative as an interview between MJ and MTV reporter Rachel (Mary Kate Moore), juxtaposing flashbacks with the present.
He recalls his childhood in The Jackson 5 (Little Michael is played by the disarming Josiah Benson, alternating with Ethan Joseph) under his abusive father, Joseph (a chilling Devin Bowles, who also plays MJ's devoted manager Rob in the present). Joseph demands perfection from his sons and instills in MJ the same desire, the pursuit of which drives MJ's demand for increasingly elaborate effects that become financially unattainable.
A string of hits - crowd-pleasing medleys of “The Love You Save,” “ABC” and “I Want You Back” re-created as part of the group's Apollo Theater debut - follow their signing with Motown Records. We watch as young adult Michael (fine work by Brandon Lee Harris) introduces the robot dance in the “Blame It On the Boogie”/“Dancing Machine” medley, as delightful for costume designer Paul Tazewell's resplendent 1970s purple suits and gold-ruffled shirts as it is for the performances.
Another flashback chronicles Harris' Michael flexing his creative muscles in collaboration with producer Quincy Jones, resulting in the rousing, ovation-generating “Wanna Be Startin' Somethin.'”
The show addresses Jackson's efforts to promote environmental awareness and social justice and his charitable donations. It also references his reliance on painkillers, which he reportedly began taking after suffering burns while filming a Pepsi commercial in 1984. But the molestation accusations - referred to as “recent allegations” during a chaotic news conference - are not addressed, neither is tour manager Rob's observation about “a family joining the tour,” an oblique reference to another allegation.
While it could benefit from a few more revelations and a bit more insight, “MJ the Musical” has moments of sheer brilliance. Case in point: the re-creation of Jackson's famous moonwalking Motown 25th anniversary celebration performance of “Billie Jean” in 1983.
“All right now,” a man shouted as Banks stepped into the spotlight and pulled from a suitcase a black sequined jacket followed by a silver, sequined glove. “Oh my God,” a woman exclaimed.
It was followed by a magnificent dance break showcasing the influence of The Nicholas Brothers' (Chelsea Mitchell-Bonsu and Brion Marquis Watson) acrobatic tap dance, the effortless grace of Fred Astaire (Matteo Marretta) and the angularity of Bob Fosse (Croix Diienno) on Jackson. A dazzling “Smooth Criminal” incorporating all those styles followed, leaving the audience dazed.
As the action shifted back to the rehearsal room, MJ asked “What do you think?”
The standing ovation told him everything he needed to know.
Location: James M. Nederlander Theatre, 24 W. Randolph St., Chicago, (800) 775-2000, broadwayin chicago.com
Showtimes: 7:30 p.m. Tuesday through Friday; 2 and 8 p.m. Saturday; 2 p.m. Sunday through Sept. 2. Also, 7:30 p.m. Sunday, Aug. 13, and Monday, Aug. 28, and 2 p.m. Wednesdays, Aug. 16, 23 and 30.
Tickets: $52.50-$132.50
Running time: About 2 hours, 35 minutes with intermission
Rating: For teens and older, references child abuse and substance abuse
COVID-19 precautions: Masks optional