‘MJ the Musical’ Brisbane Review: Precision, Power and a Star Turn That Does the Impossible
How do you dramatise the life and legacy of Michael Jackson — arguably the most scrutinised pop figure of the modern era — without tipping into impersonation or hagiography? MJ the Musical has a clever solution: come up with a great concept, skip the courtroom dramas and focus on the music.
At its centre is Broadway standout Ilario Grant, whose portrayal of Jackson is nothing short of remarkable. It’s a performance that had to land — and does — given the pedigree behind the production. With Christopher Wheeldon, one of the world’s most respected choreographers and a key creative force from The Royal Ballet, shaping the show, the physical language is exacting. Grant inhabits Jackson and his rhythm, while capturing the tension, stillness and explosive release that defined his stage presence.
The show’s structure, anchored on the eve of the 1992 Dangerous World Tour, proves to be one of the production’s smartest decisions. From that central moment, the story spirals outward through a series of flashbacks — to childhood, to the Jackson 5 years, to the creation of a global icon. It’s a device that could easily feel overworked or clunky, but here it unfolds with remarkable fluidity. Transitions are so seamless they feel almost invisible, allowing past and present to coexist in a continuous emotional thread.
That sense of cohesion extends to the performances across the board. J. Daughtry delivers one of the evening’s most impressive turns, switching between Jackson’s domineering father Joseph and tour director Rob with dexterity. The contrast between the two figures — one oppressive, one managerial — is handled with deft clarity and control.
Conlon Bonner appears in dual roles as Tito Jackson and Quincy Jones, grounding the narrative in the collaborative relationships that shaped Jackson’s sound. Oyoyo Joi is a standout as Katherine Jackson, imbuing the role with both emotional weight and vocal power. There’s also a strong local note: Brisbane performer Liam Damons impresses as the younger adult Jackson, while the role of Little Michael — played on opening night by Blaiyze Barksdale — adds a layer of vulnerability that cuts through the spectacle.
And make no mistake, this is a spectacle.
Musically, the show is a juggernaut. Under the direction of music director and keyboardist Michael Azzopardi, the onstage band becomes an integral part of the experience. Their presence is not just functional but theatrical, culminating in a high-energy flourish as they drive the show to its final moments before slipping out of view.
Songs like “Billie Jean,” “Smooth Criminal” and “Beat It” are staged as narrative peaks rather than nostalgic detours. “Smooth Criminal” lands with razor-sharp choreography and noir precision, while “Billie Jean” builds from restraint into something hypnotic.
The Brisbane audience responded accordingly. A standing ovation before interval is rare, but here it felt inevitable — the result of a production that had already found its rhythm and its audience.
If there is a limitation, it lies in the show’s reluctance to fully interrogate the more troubling aspects of Jackson’s life. With a book by Pulitzer Prize winner Lynn Nottage, the focus remains on artistry, ambition and control rather than controversy. It’s a deliberate choice, and one that keeps the production firmly within the boundaries of a commercial musical.
What elevates MJ the Musical is its precision. Every movement, every transition, every musical cue is note-perfect — and yet the show never feels mechanical.
By the final curtain, the audience is on its feet once more.
This may not be the definitive account of Michael Jackson’s life, but as a piece of theatre, it achieves something arguably more difficult: it captures the essence of an artist whose genius was built on control, reinvention and relentless drive — and translates that into a live experience that is nothing short of electric.
MJ the Musical plays at QPAC (Brisbane) until May 30.