MJ at the Peace Center
Biopics and their theatrical ilk are a plague on humanity and their continued popularity over original works is a society-wide embarrassment.
Except when they feature lead performances as stunning as Roman Banks’ Michael Jackson in MJ.
Taking over the role that won Myles Frost the Tony for Best Actor, Banks becomes the iconic performer and recording artist, wholly embodying the King of Pop down to his wispy talking voice, ferocious singing, and silky smooth dance moves.
Surrounding his star power on the Peace Center stage is the complete package (as far as musicals go). In addition to the beloved musical catalog — vividly brought to life by a gifted cast and a smokin’ band under the direction of keyboardist Victor Simonson — MJ is buoyed by an unexpectedly emotionally rich story from Pulitzer Prize winner Lynn Nottage (Ruined; Sweat) and immaculate production design from Derek McLane.
Set in 1992, days before the onset of the ambitious Dangerous world tour, the show maximizes the potential of digital projection as Peter Nigrini’s creations transport Michael and his dancers from the rehearsal studio to MJ’s past and the numerous places his imaginative mind took viewers in music videos and live performances throughout his illustrious career.
Under the direction of Christopher Wheeldon, these visual, narrative, and sonic elements blend into a cohesive whole that makes MJ’s 2.5-hour runtime fly by, and its near-seamless transitions are key to that zippy feel. Though it’s awkward seeing Michael hold hands with one of his dancer’s kids early on — the moment is about as controversial as Nottage’s book gets — that youngster (Ethan Joseph) soon becomes a younger version of MJ, taking us back to the days of the Jackson 5 and the traumas inflicted by their father Joseph (Devin Bowles) that continue to haunt adult Michael.
Brandon Lee Harris’ turn as teen/young adult Michael likewise impresses and emphasizes the triumphs, compromises, and pain that have led to MJ literally betting the house on the success of his latest tour. The presence of an MTV documentary crew chronicling the final rehearsals also sheds compelling light on what’s going through the troubled star’s head, and the interviews’ resulting swirl with the musical numbers offers insights on certain demons being exorcised on particular songs.
But much like Michael’s flawed quest for perfection, MJ isn’t spotless. The first act features scattered vocal timing issues, specifically in “ABC.” And impressive as it is witnessing Bowles instantly transform from tour director Rob to Joseph Jackson, the accent change necessary to help differentiate the latter has a tendency of muddying his dialogue to to point of incomprehension.
But these are possible opening night aberrations that can be ironed out, and had already evaporated by the show’s second act, which opens with such ferocious energy and visual allure that it doesn’t matter that the documentary angle is abandoned for a good half hour. That element comes back in its own time, ceding its stage time for the glitz and glamor that only Michael Jackson can deliver — and MJ is all the better for it.
MJ runs through Sept. 24 at the Peace Center. For details and tickets, visit peacecenter.org.
(Photos by Matthew Murphy, MurphyMade)
