Produced by Michael Cassel Group. Book by Lynn Notage. Direction & Choreography by Christopher Wheeldon, OBE
The King of Pop is alive on stage in this production that both dazzles and wrestles with its own legacy
Reviewed by Justin Clarke
Sydney Lyric Theatre, Pyrmont
Until 22nd June, 2025
Presale until 3rd August, 2025
Tickets: https://mjthemusical.com.au/
Type: Bio-Musical, Dance, Concert Vibes
If you liked: The Cher Show, Tina: The Tina Turner Musical, The Boy From Oz
“Can we separate the music from the person?” MJ asks. “I want this to be about the music”, he continues and therein lies the meta-awareness of Lynn Notage’s book for the Tony Award-Winning MJ the Musical. Michael Jackson was a controversial man, and any work written about him is always going to face controversy from its inception. So the question then becomes, is this new look at the King of Pop a thriller, or will audiences just ask for the show to beat it?
Set in 1992 during rehearsals for his Dangerous World Tour (ironically set only a year before initial allegations of child sexual abuse came out about Jackson) MJ uses the framing device of the concert, used in support of Jackson’s own Heal the World Foundation, to explore the career of a troubled artist who irrevocably changed the music industry forever.
The allegations surrounding him have always been denied by Michael Jackson’s estate, especially in the airing of the 2019 HBO documentary Leaving Neverland. Jackson himself was acquitted of the initial allegations in 2005, and the estate has claimed the documentary to be a posthumous character assassination on the superstar. In MJ, Notage’s book doesn’t necessarily tackle the mass of speculation around Jackson with true grit, rather it moonwalks around the subject matter, dropping crumbs here and there.
Penny McNamee performs the role of MTV reporter Rachel, who is assisted by cameraman Alejandro performed by Yashith Fernando. They are reluctantly given exclusive access to the rehearsal progress, promising MJ and his director Rob (Derrick Davis, also doubling as MJ’s father Joseph Jackson) that they would keep the content focused on the music and concert. But even they eventually can’t ignore the pill popping, the outrageous demands, and the need to work his team to the bone in search for perfection.
Christopher Wheeldon’s direction brings us a show that almost wrestles with its own identity crisis throughout, as we bounce between references to Jackson’s controversial stardom – Bubbles the chimp, Peter Pan childishness and Neverland are all included. Whilst Notage’s book often begs us to overlook the controversy in his later life, the sheer veracity in Wheeldon’s choreography cuts through thanks to the superb ensemble assembled. Coupled with the booming sound design by Gareth Owen and the explosive lighting design of Natasha Katz MJ the Musical gives audiences what they want: a Michael Jackson concert.
Let’s not forget, this is a musical after all, and there are musical elements throughout that bring the story to life. There are numerous references to musicals to help ground the piece in the genre with allusions to shows such as Chicago and A Chorus Line, with one particular number taking us through the artistic musical influences that helped shape Jackson’s iconic movements.
Throughout, we follow the journey of MJ’s life from his humble beginnings in the Jackson 5 (young child Michael tonight played with an unbreakable smile by William Bonner) through to his first solo venture, and Jackson’s first instance of seeking to break through the white wall of the music industry. The method of how to do this? Thriller.
…the infectious music will get you on your feet, spellbound by the MJ in front of us
As the teenage/young adult Michael, newcomer Liam Damons stuns with a voracious hunger and fluid moves that slip and slide through Wheeldon’s choreography in a montage sequence of Thriller that receives rapturous minutes of applause. It suggests that if Damons had more years under his belt that he would be the one leading the Australian premiere.
Instead this is given to Roman Banks who took on MJ in the US tour of the production. With any MJ performance, you often come out saying, “he does Michael well”, so bringing depth and corporeal humanity to the role is a challenge in itself. Banks is a superb Michael, he’s vocally brilliant and hits all of the emotive beats that bring the song cycle to life with the smooth coolness that only an aficionado of Michael Jackson can bring. The opening of the second act’s “Billie Jean/Smooth Criminal” crossover brings literal goosebumps, with Banks making you forget you are sitting in a theatre.
Just as you find yourself questioning the King of Pop, unable to ignore that creeping sensation of doubt lingering in your mind, the first notes of a song are played and you’re instantly pulled back into the music. It’s a reminder that beyond the controversy and the allegations, Michael Jackson was a man of myth and legend in the music world. His work takes on a life of its own beyond the physical person, ultimately awarding him his moniker.
When it comes time for the finale, the infectious music will get you on your feet, spellbound by the MJ in front of us and the supporting cast around him. Still, there’s that lingering sensation that’s as difficult to wrangle as the unending media speculation that surrounded him.
What is for certain is that this production definitely wants to be startin’ somethin’.
Theatre Thought: Can you truly separate the person from their art? Or will there always be a residual element of doubt in one’s mind?
CAST
Roman Banks
MJ
Liam Damons
Michael
Ceeko
Standby for MJ and Michael
Ilario Grant
Standby for MJ and Michael
Albanus Terry Strickland II
Standby for MJ and Michael
Conlon Bonner
Tito Jackson / Quincy Jones
Derrick Davis
Joseph Jackson / Rob
Yashith Fernando
Alejandro
Josslynn Hlenti Afoa
Katherine Jackson
Wonza Johnson
Berry Gordy / Nick
Penny McNamee
Rachel
Tim Wright
Dave
Beth Appiah Cain
Swing
Shewit Belay
Standby
Martha Berhane
Ensemble
Eric Allen Boyd
Swing
Charlie Bryant
Swing
Liam Costello
Ensemble
Xavier Gibson
Ensemble / Marlon Jackson
Kyle Kavully
Ensemble / Jackie Jackson
G Madison IV
Ensemble / Randy Jackson
Loredo Malcolm
Ensemble / Jermaine Jackson
David L. Murray Jr
Swing
Sebaga Neumann
Swing / Children’s Dance Captain
Coby Njoroge
Swing / Assistant Dance Captain / Fight Captain
Warren Nolan Jr
Standby
Fletcher O’Leary
Ensemble
Brittany Page
Ensemble / Dance Captain
Dustin Praylow
Swing
Tigist Strode
Standby
Iris Wei
Ensemble
Kayleb Alese
Little Marlon
Blaiyze Barksdale
Little Michael
Charlie Batchelor
Little Marlon
William Bonner
Little Michael
Cayden Dosoruth
Little Michael
Daniel Makunike
Little Michael
Zavier Pillay
Little Marlon
Kael Smith
Little Marlon
CREATIVES
Lynn Nottage. Book
Christopher Wheeldon. Director & Choreographer
David Holcenberg. Music Supervision, Orchestrations & Arrangements
Jason Michael Webb. Orchestrations & Arrangements
Derek McLane. Scenic Design
Natasha Katz. Lighting Design
Paul Tazewell. Costume Design
Gareth Owen. Sound Design
Peter Nigrini. Projection Design
Rich + Tone Talauega. Michael Jackson Movement
Charles LaPointe. Hair & Wig Design
Joe Dulude II. Make-Up Design
Strange Cranium. Electronic Music Design
Dontee Kiehn Global Associate Director
Michael Balderrama. Global Associate Choreographer
Lia Vollack. Producer
John Branca. Producer
John McClain. Producer
Michael Cassel. Producer
Bespoke Theatricals. Global General Management
Effie Nkrumah. Resident Director
Brendan Yeates. Australian Associate Dance Supervisor
Elysha Manik. Resident Dance Supervisor
Michael Azzopardi. Music Director
Lauren Wiley. Australian Casting
The Telsey Office, Lindsay Levine, CSA. Additional Casting
Michael Cassel Group. Executive Producer & General Management
Yossi Torbiner. Associate Producer
