REVIEW BY CHARLOTTE FRASER
EDITED BY EMMA PARFITT
‘Study the greats and become greater’ – these scribbled words stand out among the collage of Michael Jackson’s handwritten notes projected onto a scrim. Musicians and dancers file casually onto the stage as the audience is still chatting and drinking. It’s opening night. Excitement and anticipation are buzzing through Her Majesty’s Theatre. In a room of glitter and glamour, a warning is called from stage (to the dancers, but also, perhaps, to us): ‘five minutes ‘til Michael!’.
‘Three minutes ‘til Michael!’
The chattering audience finally sits and turns their attention to the stage.
‘One minute ‘til Michael!’
And it’s an astonishing moment when Ilario Grant, decked out in Michael Jackson’s classic fedora, finally walks onstage, prompting rapturous applause.
MJ: The Musical takes us through the preparations for Michael Jackson’s 1992 ‘Dangerous’ world tour, where he is constantly pushing for bigger and better ideas to make the perfect show. A documentary team from MTV have been granted two-day access to the rehearsal room, and we are right there with them, seeing the ups and downs of such a tumultuous process. The show skips back and forward in time as MJ reflects on his childhood, his time in the Jackson 5, his complex relationship with his father and his rise to fame as a solo artist.
The show is electric and a spectacle not to be missed. Directed and choreographed by Christopher Wheeldon and written by Lynn Nottage, MJ: The Musical is a theatrical feat with a flawless cast and music that had everyone head bopping in their seats. The music and sound are just as incredible as you’d expect from a musical about one of the most influential musicians of all time. Michael Jackson’s greatest hits all come to life before our eyes – a credit to the musical supervision, orchestrations and arrangements by David Holcenberg and Jason Michael Webb, as well as sound designer Gareth Owen.
This has to be one of the most visually engaging musicals I’ve ever seen. The costume design by Gareth Owen captures the iconic image of Michael Jackson and the zeitgeist of the 1960s to 1990s. It has it all: the fedoras, the sparkles, the shiny gloves and the iconic jackets we all recognise as classic Michael Jackson. The lighting design by Natasha Katz fills the theatre with colour and dynamism during the larger musical numbers and pulls back just enough when the tone gets more pensive or serious.
The set, by scenic designer Derek McLane, is as extravagant as the visions MJ has for his world tour. The screen at the back is a visual marvel, easily setting the scene, moving with the action onstage and between moments in time. The set transitions are impossibly smooth, and each façade, box and mirror is utilised in new, exciting ways each scene.
One element I do question throughout the show, however, is the use of projections. More often than not, it is difficult to discern what they depict as they hit the curtains and the back wall of the set in an odd way. The projections seem a little redundant considering how effective the screen backdrop is. However, they are used, to greater effect, in the second act when they move and work in sync with the screen.
The cast of this show has no single star. The ensemble gives a flawless performance, hitting each step and beat with purpose. Iris Wei exemplifies this, constantly catching my eye with her enthusiasm and stage presence. The actors who brought little Michael and little Marlon to life are so impressive for such a young age, capturing the audience’s hearts from the moment they step onstage. Josslynn Hlenti Afoa and Derrick Davis both seamlessly shift from Katherine and Joseph Jackson into MJ’s back-up singer and tour manager respectively. Davis’ ability to change – almost without moving – from MJ’s affable tour manager, Rob, into his commanding, strict father, Joseph, is a commendable part of the performance.
Penny McNamee and Yashith Fernando bring the sometimes nosy, sometimes fan girl-y MTV reporters to life, serving almost as the audience’s surrogate as they peer behind the curtain into the life of the king of pop. Wonza Johnson and Tim Wright’s performances bring moments of comedy as their characters clash with MJ’s exacting personality, and they support the more serious moments with their characters’ concern for MJ’s future and wellbeing.
But of course, the elephant (or perhaps monkey) in the room: Ilario Grant and Liam Damons. Grant, who comes straight from MJ: The Musical on Broadway delivers a performance that fully embodies Michael Jackson. His silliness, his voice, his movement and vocal adlibs make for a performance that makes us feel like we’re watching the real Michael Jackson. Grant brings a contagious energy to the stage that enthrals the audience in the story – in his every word and every movement. Similarly, Damons as ‘middle’ Michael takes us through MJ’s journey from leaving the Jackson 5 all the way to ‘Thriller’ and ‘Bad’. Damons gives an outstanding performance and the confidence and presence he holds onstage makes it shocking to read that this is his professional theatre debut.
Many performers, actually, are noted as making their professional debut in this production. Every single person delivers an outstanding performance. The future of Melbourne’s theatre scene is very bright if this is the calibre of performance we’re seeing in debut actors. They all work together like they were born to put on this show – not a step out of sync or a movement made without passion and purpose.
One of the most poignant scenes in the production is the rendition of ‘Earth Song/They Don’t Care About Us’ – songs that are still incredibly relevant to a contemporary audience. As MJ battles with the media’s obsession with him and his life all crashing down on him in a suffocating wave, the lyrics of the song ring out. Lyrics that resonate just as deeply now as they did in 1996. And, of course, ‘Thriller’ is just as exceptional, extravagant and spooky as I had hoped.
The show has everything you could ask for, no matter how much (or little) of a Michael Jackson fan you consider yourself to be. Even though the energy and pace of the show do seem to slow a bit in the middle of the second act, nothing can beat that ending. You can tell that the actors onstage are having just as much fun as the audience.
On opening night, the show received three standing ovations. One in the middle of the first act, another in the middle of the second act and by the end of the show the entire audience was on their feet dancing to the final medley. I have never experienced a show with such a rich atmosphere – one marked by pure joy from both the audience and performers. Every scene ended in cheering and whooping from the crowd, and it was all deserved.
MJ says that he wants his music to make people feel the closeness to God that he does when he is making it, and by God does MJ: The Musical take us to church! This show is electric and bursting at the seams with colour, energy, comedy and relevance. This is not a show to be missed, Melbourne. As far as nights out go, you can’t beat it.
MJ: The Musical opened in Melbourne on September 18th at the Her Majesty’s Theatre. Tickets and information are available here.
CHARLOTTE FRASER (she/her) is a writer, performer and student editor based in Melbourne. She holds a BA in English and Theatre Studies and is currently completing her Masters degree at the University of Melbourne.
EMMA PARFITT (she/her) is the Dialog’s head editor and has written Dialog reviews alongside studying towards her science degree for the past two years. She is a production manager, stage manager and producer on the Melbourne indie theatre scene and a veteran of student theatre at Union House Theatre.
The Dialog is supported by Union House Theatre.
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