When we first moved to Denver, we made concerted efforts to immerse ourselves in the local culture, and decided to gift ourselves a splurge: season tickets to the Denver Center for the Performing Arts. We’ve seen 4 of the 5 shows in our season. We were latecomers so we missed Jagged Little Pill and Beetlejuice (SO BUMMED ABOUT THAT). Our first show was Tina, shortly after we settled into our new apartment, followed by SIX, then Message in a Bottle, and finally, MJ.
When we go to the theater, we get there early, back into a space, and eat our Subway subs while we anticipate the excitement the night, and finally, we meander to our seats. Section A, row RR, seats 4 and 5 have been our theater home for 7 months. MJ was our last show because we will be in Atlanta for Company, the last show in our pack. Rather than exchange for another date in an already super busy month, we decided to gift them to my pastoral associate who loves to attend shows with her good friend.
On Sunday night of this week, as the lights dimmed and we were welcomed to the show, we had no idea what to expect, and our expectations were still exceeded. I probably have a rose-colored-glasses view of the show, being a huge MJ fan. My commute playlist includes my favorite song, Black or White, as well as the nostalgia-laden theme from Free Willy, Wil You Be There?
My work playlist is mostly Owl City, Noah and The Whale and Regina Spektor, but definitely Beat It and Smooth Criminal are peppered in there.
From the moment the first drumbeat timed perfectly to strobe lights on the stage and we hear Roman Banks’ voice as MJ for the first time, time itself stands still. MJ is still with us, making great music and teaching the world to dance.
Roman Banks is spellbinding. Young Michael of the Jackson Five, Michael Jackson in the Early Years are equally talented powerhouses who bring depth to character and the gravitas required to portray traumatic events in his life and his tumultuous relationship with his father.
While the King of Pop remains inimitable, Banks nearly nails his singing voice and raspy speaking voice, and the dances are spot on. SPOT. ON.
The best number by far for theatricality alone, is Thriller. One of the most meaningful parts of the show is the cast’s rendition of Man in the Mirror. There is a moment where Banks as MJ is directly facing Devin Bowles who plays Joseph Jackson. “I’m starting with the man in the mirror” takes on a new meaning as MJ faces his childhood demon and looks determined not to become him.
This show, set mere days before his Dangerous Tour, MJ flows seamlessly through last minute rehearsals, flashbacks to young Michael’s life and the rise of the Jackson Five, and through Michael Jackson’s rise to fame culminating in superstardom as MJ. The theme of embodiment is strong throughout and particularly evident in the show’s portrayal of MJ’s interview snippets with a documentary crew from MTV.
As rehearsals unfold, we see him days before the show making decisions and changes based solely on how the music feels in his body. The music is so much a part of him that if it feels off in any way, no matter how many days before the show, a change must be made.
I won’t spoil the ending because it needs to be experienced, but I will say the encore was a medley of songs not included in the body of the show, including Black or White, which of course I was hoping to see.
MJ is a stellar show with a killer cast. It’s lots of fun, and was a great note to end our season subscription on.