MJ, national tour presented at Citizens Opera House by Broadway in Boston, through July 7. Broadwayinboston.com
It should come as no surprise that a jukebox show dedicated to the music and dance of the King of Pop includes as many as 41 numbers from his amazing repertoire. After all, Michael Joseph Jackson rightly earned a slew of Grammy Awards and other prizes for his efforts and even entry to the Dance Hall of Fame—the only recording artist to be inducted. "MJ"(2021),a four Tony Award-winning musical (2022)—for lead male acting, choreography, lighting and sound—pays exciting tribute to Jackson's unique music and dance innovations—now with an electrifying lead performance by Roman Banks in the strong tour at the Citizens Opera House.
While the unsatisfying book by gifted playwright Lynn Nottage ("Ruined" ) avoids the controversy that surrounded Jackson from 1993 until his 2009 passing , the choreography by Christopher Wheeldon—a talent familiar to Boston Ballet buffs and a double threat here as director—has thrillingly captured the heart and soul of Jackson's genius as composer and performer.
That thrill informs "MJ" right from the start as manager Rob warms up dancers—two days prior to Jackson's 1992 Dangerous World Tour—at an industrial rehearsal studio—strikingly designed by Derek McClane. Soon enough dynamic Banks enters, and a riveting "Beat It" follows—rightly cheered opening night by a very enthusiastic audience.
Throughout the two act musical, Banks and the tour's impassioned ensemble bring crack synchronization and sharp technique to many Jackson gems—especially "Don't Stop Til You Get Enough" and "Wanna Be Startin' Somethin'."
Banks fully executes the Jackson trademark moonwalk and robot moves, and audience members rightly responded with extended applause. His robust vocals capture Jackson's remarkable feeling—especially on "Human Nature" and "Man in the Mirror." Bane Griffith (alternating with Josiah Benson) has all of Little Michael's energy, and Brandon Lee Harris capture's Michael's evolving inspiration as a soloist and composer.
Enriching number after number are Victor Simonson's vibrant musical direction, Paul Tazewell's well-detailed costumes (particularly Jackson's stylish jackets), Natasha Katz's fiery lighting (especially for "Thriller") and Gareth Owen's nuanced sound design.
Where more nuance and insight are needed is in Nottage's informative but relatively undramatic text. Part of the problem here is an ongoing plot element involving a fictional interviewer named Rachel and her photographer Alejandro. There are unsurprising details about abusive father Joseph Jackson and devout Jehovah's Witness mother Katherine as well as the ultimately problematic prescription of painkillers after Michael suffered serious burns at the time of a Pepsi ad. Better moments center on such dance muses as Fred Astaire, Bob Fosse and the Nicholas Brothers. Motown's Berry Gordy and multi-talent Quincy Jones are justly treated as major influences. Apparently the Michael Jackson Estate influenced the cut-off of the time of the musical before the cases involving charges of sexual abuse—cases for which no evidence was found. Also missing is Dr. Conrad Murray, convicted of involuntary manslaughter for overdosing Jackson with propofol.
Even so, Banks and his fellow talented actors and dancers do provide considerable compensation. Versatile Devin Bowles catches manager Rob's hard-driving approach and father Joseph Jackson's disturbing controlling. Anastasia Talley is properly harried and vulnerable as Katherine. Mary Kate Moore does her best with the role of the self-serving and often annoyingly persistent Rachel.
Jackson seems to agonize at times over the price of fame. With a stronger book, his complex internal war could have made "MJ" a great musical. As is, it more than keeps the faith with Banks' transcendent dance. You can really feel it.