In this age of ‘cancelling’ celebrities, it is sometimes surprising to see which offending personality is subjected to this unenviable fate and which isn’t. A television presenter who has embarked on a workplace same-sex affair seemingly has his entire professional life and psychological well-being ruined, whereas an artist against whom there have been far more serious (if unproven) compelling allegations is being celebrated nightly at the sizable Prince Edward Theatre in London. An artist whose work has already featured in a separate show whose lengthy run ended not long before this one’s premiere. I write, of course, of MJ, the Michael Jackson-inspired musical that has arrived in the West End fresh from its triumph on Broadway.
So how does this show deal with the controversy? Well, in short, it doesn’t. It conveniently sets the action virtually on the eve of the initial allegations of child abuse which tarnished Jackson’s later career. One senses the watchful eye of those wishing to keep intact as much of his legacy as possible.
There’s no doubting the artist’s appeal as far as his songs and performances were concerned, and the best way to regard this production is probably as the most effective means of experiencing a live Jackson concert now that “the real thing” is no longer an option. And the audience certainly laps it up, doubtless due in no small part to the high production values and top-notch performances from a cast that has just welcomed Jamaal Fields Green to the titular role (one of three performers who play the part during different stages of his career).

Yet the fact remains that plot-wise there is little here that we haven’t seen before. Many so-called jukebox musicals deal with an artist’s struggles as they ascend to the giddy heights of showbusiness, followed by the taste of success and the inevitable associated pitfalls. The narrative of MJ is therefore in many respects almost indistinct from those of so many other compilation shows based around the back catalogues of well-known acts.
The device of using a rehearsal room television interviewer to tease episodes of Jackson’s life out of him allows re-enactments of pivotal episodes in his career to be dramatised. And there are certainly one or two utterly glorious set pieces. Throughout, though, vocal clarity is sadly often sacrificed in an attempt to replicate Jackson’s distinctive style of speaking and singing. As a high-energy, big-budget spectacular celebrating of the work of a musical icon, it scores very highly. As an artistically motivated, compelling, 360° insight into the life of a fallible man, it leaves one unfulfilled, even somewhat uncomfortable.