Abstract: The official Michael Jackson Broadway musical, MJ: the Musical recently celebrated its 4th anniversary at the Neil Simon Theatre in New York City. Since its premier, there has been a North American touring production, a London production and a German production in Hamburg. MJ Studies Today columnist Kerry Hennigan finally caught up with the show in Melbourne, Australia, last month, and considers its role in relation to Michael Jackson’s legacy.
Column by Kerry Hennigan, editor of the free monthly newsletter A Candle for Michael, administrator of the fan group “Michael Jackson’s Short Film Ghosts” on Facebook, and an MJ blogger on WordPress. Kerry holds Certificates in the Archaeology of the Ancient World and the Archaeology of Ancient Britain from Cambridge University’s Professional and Continuing Education and is passionate about Viking longships.
REFERENCE AS:
Hennigan, Kerry. “MJ Studies Today CXXIII: Spreading the legacy: the value of MJ: the Musical as a posthumous tribute to Michael Jackson.” (14-03-2026). The Journal of Michael Jackson Academic Studies Vol 12, No. 3 (2026). https://michaeljacksonstudies.org/mj-studies-today-cxxiii/
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Spreading the legacy: the value of MJ: the Musical as a posthumous tribute to Michael Jackson.
By Kerry Hennigan
Photo montage © Kerry Hennigan
Once media reports of the death of a famous artist or public figure fade from the headlines, their legacy rests largely in the hands of trustees and heirs. In the case of Michael Jackson, legacy projects have included the controversial posthumous release of new music, high-end marketing partnerships, and collaborations with major entertainment brands such as Cirque du Soleil (including Michael Jackson: The Immortal World Tour and the Michael Jackson ONE residency show in Las Vegas). These ventures have provided opportunities to further disseminate Jackson’s artistic legacy to new generations, while also giving long-time fans occasions to gather and celebrate the life and work of an artist many have admired for decades.
Another legacy project, MJ: The Musical, was ambitiously conceived from the outset as a Broadway production, though its debut was delayed for several reasons, including the COVID‑19 pandemic, which temporarily shut down Broadway. Since its eventual premiere, however, MJ: The Musical has earned considerable acclaim and become a flagship project for the Michael Jackson brand. The premise initially appeared risky. By telling the story of Jackson’s rise to fame through the lens of rehearsals for his Dangerous World Tour of the early 1990s, the production required actors capable of portraying Jackson across three distinct eras—singing his songs and convincingly executing his iconic dance moves. For the show to succeed in perpetuating Jackson’s legacy, it would need to satisfy not only devoted fans of all ages but also general theatre audiences.
When the previously unknown Myles Frost debuted in the lead role during the Broadway previews in December 2021 (ahead of the official premiere on 1 February 2022), few could have predicted the outcome. In his first on-Broadway role—an especially demanding one given audiences’ familiarity with the real Michael Jackson—Frost won the 2022 Tony Awards for Best Performance by a Lead Actor in a Musical, becoming the youngest solo recipient of the award to date. Additional Tonys were awarded to director and choreographer Christopher Wheeldon for Best Choreography and to Natasha Katz for Best Lighting Design of a Musical. The production was also nominated in nine other categories.[1] An original cast recording was later released on CD and earned a nomination at the Grammy Awards for Best Musical Theatre Album, although it did not ultimately win.
Now, over four years later, MJ: The Musical has broken the attendance record at the Neil Simon Theatre in New York City eleven times. It has also spawned multiple international productions: a North American touring company, a production in London’s West End (which has recently concluded its run), a German-language production in Hamburg that continues to run, and the Australian production, which I finally had the opportunity to see after several unavoidable delays—and would happily see again. After seasons in Brisbane and Perth, the show is scheduled to tour parts of Asia, a region where Jackson continues to enjoy an immense and devoted fan base.
The Australian production opened in Sydney on 26 February 2025 before transferring to Melbourne, where I saw it at Her Majesty’s Theatre on 1 March 2026. In Sydney, the lead role of Dangerous-era MJ was performed by Roman Banks, who reportedly received enthusiastic reviews.[2] By the time I attended the Melbourne performance, however, the role was played by Ilario Grant. Although I was unfamiliar with Grant beforehand (despite his being described by Broadway World as a “Broadway sensation”), I was assured by the two enthusiastic repeat audience members seated beside me that he was exceptional. It took very little time for me to realise they were right.
During the first half of the performance, when Grant—portraying Jackson—began singing Stranger in Moscow, I felt a nudge on my elbow. “Are you in love yet?” my neighbour whispered. I could only nod in response, hindered somewhat by the sudden lump in my throat.
Near the conclusion of the show, the cast performs Man in the Mirror. For me, and I suspect for many others in the audience, it was another deeply emotional moment—not only because it evoked memories of the real Michael Jackson, but also because it triggered a personal reflection. I could almost hear the voice of my recently deceased mother asking the question she often posed when I returned from a trip or attended a long-anticipated performance: “How was it, dear? Was it as good as you expected?” In my mind I answered her with a resounding “yes.”
MJ: The Musical aims to tell the story of Michael Jackson’s career and creative process up to a particular point in time. The narrative is constructed as a synthesis of key moments framed by the planning and rehearsals for the Dangerous tour. Inevitably, it cannot present the entire story—something hardly possible within the confines of a two-hour stage musical. Nor is Ilario Grant actually Michael Jackson, just as none of the other performers who have played the role are. Nevertheless, as an official project intended both to introduce Jackson’s artistry to new audiences and to satisfy long-time fans, the production succeeds admirably.
As Christopher Wheeldon notes in the official programme:
“I hope that we found a way to celebrate the great artistry of Michael Jackson yet look ourselves in the mirror and ask profound questions of light and shadow—how we can make a change and, yes, how we can all make the world a better place.”[3]
Kerry Hennigan
14 March 2026
Sources:
[1] Broadway World. “MJ The Musical Tony Awards Stats.” Retrieved 13 March 2026 from https://www.broadwayworld.com/tonyawardsshowinfo.php?showname=MJ%20The%20Musical
[2] Aussie Theatre. “Global Superstar Roman Banks to Reprise Critically Acclaimed Performance as MJ in Australia.” Retrieved 13.3. 2026 from https://www.aussietheatre.com.au/news/global-superstar-roman-banks-to-reprise-critically-acclaimed-performance-as-mj-in-australia/
[3] MJ: the Musical official program, Melbourne Australia. Creative Goods Design & Supply, 2025, page 22.