Standing ovations are a rare occurrence in Perth theatres; standing ovations mid-show are unheard of. But that’s exactly what happened when the spotlight was shone on the artistry of Michael Jackson.
Michael Jackson is everywhere. Documentaries fill streaming services, a recent feature film has divided audiences and critics, his music still plays on the radio, and there’s been a Cirque du Soleil show inspired by his work—just one of several musicals. While other artists have been forever cancelled, we seem to be able to separate Michael Jackson from his music. A great mystery still surrounds his life, his actions, and his persona. All we can say with great certainty is that we know his music, and we remember his amazing performances.
On Wednesday night, MJ – The Michael Jackson Musical opened in Perth following acclaimed runs in Sydney, Melbourne, and Brisbane. The Tony Award–winning show is filled with outstanding stagecraft, clever storytelling, and brilliant performances. It reflects those certainties of Jackson.
Ilario Grant embodies Michael Jackson. He sounds like him, dances and moves like him, and sings like him—and chances are, he probably even breathes like him too. The role of Jackson is shared by three actors: Grant plays the adult Jackson, Liam Damons portrays him in his teenage years, and a troupe of young actors takes turns each night playing Jackson as a child. On opening night, Blaiyze Barksdale showed off impressive singing and dancing abilities.
The way into Jackson’s life story is through joining him in the rehearsal room for his 1992 Dangerous World Tour. Jackson is under pressure: Thriller may have been the highest-selling album of all time, but that was ten years ago. Its follow-up, Bad, was also a success, but in a new decade marked by the rise of grunge and new jack swing, can Michael Jackson stay on the charts and deliver his greatest show yet?
Into the rehearsal room comes an MTV film crew: reporter Rachel (Sarah Morrison) and camera operator Alejandro (Yashith Fernando). They are given rare access to see how Jackson and his team build the new show together. Jackson is only interested in talking about his music, not his life. Slowly, the crafty reporter builds rapport and gets the elusive star to speak about his life and ambitions. At the same time, she notices tensions between Jackson and his managers and creative team, and his alarming use of painkillers also catches her attention.
Unlike the recent biopic that felt dishonest in its portrayal of Jackson, this telling presents him with flaws, addressing the oddness of his life and acknowledging substance abuse as a factor. The setting places us before the superstar’s image was permanently tarnished by accusations of child molestation, allowing us to appreciate a moment in time when his artistry, inspirations, and talent were at the forefront.
There are fine performances from J. Daughtry, who plays showrunner Rob as well as Jackson’s domineering father, Joseph. Kyle Lamar Mitchell takes on the dual roles of Nick, a production staffer desperately trying to keep things on schedule, and Motown boss Berry Gordy. Tim Wright, who hails from Albany, plays business manager Tim, who is pulling his hair out over the star’s ever-increasing demands for more costumes, sets, and props—alongside his extravagant lifestyle.
The creation of these dual roles is an ingenious storytelling technique. It shows how the pressures Jackson faced in 1992, and the decisions he made, were driven by events from his past: his father’s bullying, his family ethos, and his love of other performers.
There’s a delightful sequence showing the lineage of Fred Astaire, the Nicholas Brothers, and Bob Fosse as inspirations for Jackson, along with clever setups that take us back to the Jackson 5’s big break, the Jacksons’ disco era, and Michael making his mark at the Motown 25 concert.
The show also benefits from restraint in selecting which of Jackson’s iconic hits make it into the production. The songs follow the golden rule of musicals: they move the story forward. Many hits aren’t included, but those we hear are engaging and electric. Tabloid Junkie, Price of Fame, You Can’t Win, and 2 Bad aren’t major hits, but they add to the narrative. When the big numbers arrive, they deliver: Man in the Mirror, Jam, Billie Jean, Wanna Be Startin’ Somethin’, and Human Nature are all highlights.
Back in the 1990s, I worked at the Crown Entertainment Complex—though three decades ago it was called the Burswood Resort. At the end of a long day, I was somewhat annoyed when I couldn’t get back to my car in the staff car park.
In late November and early December 1996, Michael Jackson played two nights at the Burswood Dome as part of his HIStory World Tour. Security had blocked access to the car park because Jackson’s entourage was about to arrive. I didn’t care—I just wanted to get my car, go home, sleep, and be back for my next shift. Did Michael Jackson really need a 300-metre-wide clearance zone just to drive into the loading dock?
As the entourage of black SUVs zoomed past, flanked by a cavalcade of police motorcycles, scores of people appeared from nowhere—fans screaming his name, chasing the cars. I don’t know where they came from—were they hiding in the bushes? It turns out he really did need that wide exclusion zone. I’d completely forgotten about this until scenes of Jackson mania in the recent film triggered the memory.
Last night, just a few hundred metres from where Jackson once sped by, MJ – The Michael Jackson Musical took us back to that time—when Jackson wowed audiences, inspired fandom, and delivered chart-topping songs. It did so by wowing us in the same way, with those same songs, revealing the inspirations behind them and adding a touch of mystery. Michael Jackson may be gone, but what he gave us as an entertainer is alive and well in this show.
MJ – The Michael Jackson Musical is at Crown Perth until 19 July. Tickets are on sale now.
