Ensemble Arts Philly and the Shubert Organization present MJ the Musical

Set during the preparations for Jackson’s Dangerous tour, the story unfolds through imagined and remembered flashbacks. In the frame narrative, Michael (on January 9, understudy Erik Hamilton for Jordan Markus in the title role) grapples with the overwhelming ambition of his concert plans, while a documentarian (Cecilia Petrush) seeks to produce an exposé on the artist. The flashback structure, crafted in a book by Lynn Nottage, makes sense—memory, after all, is subjective and malleable. However, the show uses this device as a way to sidestep more uncomfortable truths about Jackson’s life, leaving viewers with only surface-level insights into the man behind the music.

The dialogue often relies on clichés and vague platitudes, and by the end of the performance, we don’t feel any closer to understanding Jackson as an artist or a person. Instead, the production rests its success on its music, choreography, and star performances—a heavy burden for any cast to carry, let alone a group performing such demanding roles.

Elevating the material

Thursday night’s performance featured understudies in the key roles of MJ and Michael, and while Hamilton tackled the nearly impossible task of embodying the King of Pop, his voice showed strain by the end of Act 1. This isn’t entirely surprising—Jackson’s combination of vocal prowess, charisma, and unmatched stage presence was singular, making the role exceedingly difficult to fill. Among the cast, Bane Griffith shone as the youngest Michael, delivering impressive vocals and dance moves, while Devin Bowles adeptly balanced dual roles as Michael’s tour director and his domineering father, Joseph. Anastasia Talley gave a standout performance as Katherine Jackson, bringing emotional depth to the show with a moving rendition of "I'll Be There”.

Despite strong individual performances, Christopher Wheeldon’s direction and choreography lack the vibrancy needed to elevate the material. While certain dance numbers are captivating, they rarely achieve the jaw-dropping spectacle you might expect from a show about Jackson’s life. Derek McLane’s set design, heavy on digital screens, feels uninspired, further dampening the show’s visual impact.

A thrill for Jackson fans

Still, the audience seemed thrilled to relive the magic of Jackson’s music, and his record-breaking catalog undeniably carries the production. For fans of the King of Pop, MJ the Musical is a chance to revel in nostalgia. For others, the show’s reluctance to confront the complexities of its subject may leave it feeling hollow.