Would the King of Pop himself like “MJ,” the 2021 jukebox musical based on his life onstage in San Francisco’s Orpheum Theatre?
Possibly. Or likely. He’d surely admire the sturdy vocal and choreographic renditions of Michael Jackson tunes and how the show sensitively reveals important aspects of his character. And in the title role in the national tour here through Feb. 25, Roman Banks nails his iconic and distinctive dancing, mannerisms and wispy voice.
The book by Pulitzer Prize-winner Lynn Nottage rightly details Jackson’s dedication to his music, his career demands for perfection (on himself and those around him), and his messed-up-by-fame, largely loveless childhood.
However, the structure on which “MJ” hangs—Jackson in 1992 preparing for his huge “Dangerous” concert tour after the record-breaking success of “Thriller,” being interviewed by an MTV crew and feeling pressured and taking pills —is flimsy and forced at times. As is Nottage’s dialogue. (Also, the date of the action means the show omits Jackson’s infamous trial on child molestation charges.)
Interspersed with rehearsals for the concert are flashbacks that dutifully touch on major points: Michael’s youthful success with his family act, the Jackson 5; his father Joe’s never-ending abuse; his connection with his mom that doesn’t counteract dad’s destructive behavior; his up-and-coming solo career, followed by self-producing his ever-more popular records and videos that blow up the airwaves.
Banks’ castmates are good. Devin Bowles stands out in two parts, as tour manager Rob and difficult dad, Joe Jackson, while Anastasia Talley makes the most of the role of Michael’s mom Katherine, particularly in a standout version of “I’ll Be There.”
Brandon Lee Harris croons the great tunes by the young man Michael, who hits with the Quincy Jones-produced solo album “Off the Wall” (not enough songs from this album are in “MJ”!) and Josiah Benson (alternating with Bane Griffith) as Little Michael belts the enduring Jackson 5 hits.
Director-choreographer Christopher Wheeldon is at his best, and the show is best, in the production numbers with corps dancers that most resemble Jackson’s originals: “Beat It,” “Wanna Be Startin’ Somethin’,” “Smooth Criminal.”
A metaphorical rendition of “Thriller” in which MJ cleverly faces his own inner demons, and a literal version of “Man in the Mirror,” complete with a stage full of mirrors, are additional highlights. Also notable: Paul Tazewell’s sparkly costumes (on opening night, audience members shouted out how they also were wearing a glittery glove and jacket!) and Gareth Owen’s excellent sound design in which lyrics are clear and understandable.
“MJ,” boasting a Jackson estate-approved set list from the King of Pop’s extensive catalog and cast of talented performers, would be hard to royally mess up. Yet while it’s mighty fine entertainment, it doesn’t deepen or expand on Jackson’s life or legacy, and even misses some key tunes. Patrons of a certain age may leave the Orpheum and head home to their turntables to spin “Off the Wall.”
“MJ” runs through Feb. 25 at the Orpheum Theatre, 1192 Market St., San Francisco. Tickets are $65-$325 at broadwaysf.com.