MJ The Musical
Sydney Lyric Theatre
Until 23 August 2025
MJ The Musical opens in a grungy rehearsal room in Los Angeles in 1992. Dancers are perfecting Beat It in the final days of rehearsal for the Dangerous world tour.
When Michael Jackson (Roman Banks) appears there are spontaneous cheers from the audience. And the tingles set in.
From the book by Lynn Nottage, the narrative of MJ loosely hangs on the scenario of fictional MTV journalist Rachel (Penny McNamee) and her bumbling videographer who have been granted permission to unobtrusively observe Michael in rehearsal. Nottage was drawn to the dichotomy of an uncompromising perfectionist, generous philanthropist and self destructive recluse. The perfectionism Michael kindly but firmly demands from everyone involved, the budget blow-outs and his anxiety around press conferences and the media are portrayed.
Renowned choreographer Christopher Wheeldon directs and choreographs the mammoth undertaking that is MJ The Musical, years in the making. Opening on Broadway, MJ The Musical won multiple Tony Awards in 2022. He and Nottage have constructed a show that unfolds as memories, vignettes, highlights and heartbreaks from Michael Jackson’s childhood and early career. With a myriad of iconic songs to choose from, they deliberated, painstakingly, to select ones that would propel the story forward, with a couple of non-negotiables included.
Banks does a remarkable job portraying one of the most iconic musical artists to have lived. The voice, his pronunciation and intonations and laugh are all exceptionally accurate. He does appear notably shorter than Michael Jackson. After a couple of particularly rigorous dance numbers the performers are slightly breathless. One thing that particularly stood out in seeing Michael Jackson perform live in Sydney was how incredibly fit he was and how he never seemed out of breath at all.
As Michael, earmarked as a star from childhood, yearns to be a successful African American artist, he attempts to find a balance between family obligations and loyalty and forging his own creative path and identity. Showcased in colourful Motown and Soul numbers from The Jackson 5 - Blame It On The Boogie is brilliant, with Soul Train and TV appearances morphing into Studio 54 and the influence of their dance moves on the local club scene, including a young Michael’s popularisation of the “Robot Dance”. Costumes are changed at warp speed and sets (designed by Derek McLane) seamlessly appear and recede, in a dazzling montage.
 |
| Image from Official Program |
Liam Damons as young Michael has just the right physique for the role. He sings confidently and portrays the frustration and angst of a young man navigating his way through fame, the music industry and all the pitfalls that come with it, producers, friendships and a demanding family. William Bonner as little Michael sings sweetly and dances joyously and at only 11 has the vulnerability and innocence to make the numbers sung with his mother (powerhouse singer Josslynn Hlenti Afoa) convincing and poignant. I’ll Be There between little Michael and his mother ends up with MJ harmonising with them.
Clearly affected by his father Joe’s (Derrick Davis) brutal management of the family and band, philandering and constant reminders of the challenges he will face as a Black man, when MJ “remembers” these and engages in duets with his younger self it’s as if he is acknowledging and healing a wounded child. These were sad and lovely moments in the show.
Growing up in a Jehovah’s Witnesses family where birthdays were not celebrated, his desire as an adult to make everything lighthearted and fun seems a counterpoint. He exhibited a child-like humour and playfulness throughout his life and amused himself with practical jokes, playing them on Rachel, who almost becomes a confidant by the end of her time with him.
Rachel notices and enquires about his pill addiction in the aftermath of a serious burn he suffered during filming of a Pepsi commercial, but to no avail. Cleverly choreographed and staged montages of Michael winning a plethora of awards, and creating ground-breaking film-clips and dances follows. It’s like watching a tape in fast forward.
Michael’s ambitious, even fantastical ideas are leading to a path of financial ruin, much to the despair of his manager and accountant. Unwilling to compromise or give in, or even look at facts and reality, Michael implores his team to just make it happen, even if it means he could lose Neverland. His quest for authenticity means he is not satisfied with a song, a routine, an idea, until he can “feel it” in every sense - emotionally, creatively and in his body. This leads to him moving constantly, throwing out small movements as he speaks, almost comically.
The choreography comprises many compact, contained iterations of the more wild and loose movements in many of Michael Jackson’s numbers. This gives the ensemble work a contemporary edge. The visually appealing presentation and dynamic staging of They Don’t Care About Us pits the press against Michael. This number was so powerful in real life, on tour, the military, space-aged costumed dancers marching and executing rigid arm movements was reimagined here with the dancers as press journalists, creating dynamic levels and beautifully formed shapes on stage to depict a power-struggle. The costumes (designed by Paul Tazewell) were beautiful long jackets with print media patches punctuating the lapels or lining.
 |
| Image from Official Program |
Every outfit Michael wore became legendary and as each iconic jacket, hat or “the glove” was donned on stage, rapturous cheers erupted from the audience.
And when the instantly recognisable notes of Thriller are heard, the anticipation is palpable. In a wonderfully dramatic, extended number and the highlight of the first act, a stunning set, inspired by the artwork on the Dangerous album, fills the stage, flooded with red lighting and elaborate costumes. It’s overwhelming and exhilarating. It was intentional not to include a photo of this number in the review so as the impact remains a surprise for those who see the show!
 |
| Image from Official Program |
Wheeldon is in his element when he creates "dance-offs" between MJ and his dance inspirations Fred Astaire and Bob Fosse, whom he studied meticulously, as his diary notes imply. The staging of Smooth Criminal set in a neon-lit NY alleyway, starkly shows the Fosse influence in the modernised leotards and choreography. Michael’s sampling of African dance and music that intrigued him growing up, comes to fruition in Wanna Be Startin’ Something. Michael’s dance vocabulary of signature moves are oft repeated and the ensemble execute the tight movements of all their numbers with precision.
 |
| Photo by Samara Purnell |
The band (in Australia under the direction of Michael Azzopardi) is faultless, from the funk and soul of The Jackson 5, to every iconic opening chord and riff of Michael Jackson’s songs, from the solo guitarist to the dynamism and volume of a concert. The sound balance is good between dialogue, songs and music. Every opening note is instantly recognisable but contextually some songs take on different meanings, packing a powerful emotional punch.
As the show reaches its conclusion, the timeless anthem of Man In the Mirror is sung by the cast. The finale and curtain call had the audience on their feet singing along.
Michael Jackson is recognised in The Guinness World Book of Records as the “Most Successful Entertainer of All Time” and having the best-selling album of all time (Thriller). He revolutionised dance, music and pop culture and his influence is felt, seen and heard across music, dance and fashion today. His charity work in creating the Heal The World Foundation was immense.
The Dangerous Tour (1992) was the biggest tour any performer in history had undertaken. It reached over 3.5 million fans and raised over US 100 million (equivalent to 220 now) for his Foundation.
