(August 30, 2025). The late Michael Jackson apparently had one major goal for his 1992-93 Dangerous World Tour: thrill his fans like never before.
How so?
For starters, catapult himself onstage from a box straight into the sky like cooked bread from a toaster, then land standing on an elevated platform while decked in full bespectacled regalia with pyrotechnics all around him.
That vision undergirds MJ The Musical—a Tony Award winning play I took my mother to see last week while briefly in Chi. The “Broadway in Chicago” production played at the Nederlander (no pun to Neverland intended) Theater from Aug. 12-24. We attended the Aug. 20 show.
It was nothing short of phenomenal, made so by the cast’s amazing musical performances and spot-on dance sequences. In fact, they were so good that the show’s main story line — MJ (played in adult form by Jordan Markus) and his anxious ensemble rehearsing for the Dangerous World Tour in 1992 while an eager documentarian (“Rachel”) and her photographer try to get “inside baseball” on the tour’s chaotic preparations and, of course, the King of Pop’s worsening drug addiction — seemed incidental to the musical proceedings. A jukebox musical sans plot would’ve been just as good (or better)!
Starting with a slightly reimagined “Beat It” and its groundbreaking dance sequence, and ending with the rousing medley of “Jam,” “Black or White,” and a reprise of “Wanna Be Startin’ Somethin’,” MJ The Musical wowed the audience from start to finish and had us standing and dancing by show’s end. Every song in between was woven into the play’s storyline as if Michael’s catalog was always meant to create an emotional arc. When he needed nostalgic reflections of his childhood and the Jackson 5’s explosive popularity in 1970, there was “The Love You Save,” “I Want You Back” and “ABC.” While being reminded of his mother Katherine’s undying love, “I’ll Be There” was the musical backdrop (the actress playing Katherine sang it to him). Showcasing his transition from precocious preteen to a post-adolescent sex symbol was the robotic “Dancing Machine.” For introspection there was “Man in the Mirror.” And highlighting his growing concerns about things outside of himself were “They Don’t Care About Us” and “Earth Song.”
While the music was the obvious centerpiece, the story revolved around several conflicts—both contemporary and from his storied childhood, particularly his struggles with his father’s strict parenting. In 1992, at the height of the Dangerous album’s popularity, allegations of child sexual abuse had not yet occurred, and the play appropriately avoids the topic. Still, Jackson’s increasing dependence on pain killers and the mental and physical anguish he allegedly suffered at his father’s hands were common refrains, as was his disdain for the media. That latter point made it all the more surprising that the elusive superstar would even allow a documentarian such as Rachel to get in his inner circle at such a crucial and obviously stressful moment.
Still he did, and at one point even bonds with her (on a duet of “Human Nature”) as he explains his eccentricities. Although we’ve tired of them, the play addressed the obligatory topics (MJ sleeping in an oxygen chamber, MJ getting his nose fixed, MJ’s ownership of exotic pets, MJ’s whitening skin). On the latter point, Jackson blames his lack of pigmentation on the disease vitiligo, a claim that seems more accepted today than the world was willing to embrace 30 years ago.
Or maybe we’ve evolved in the sixteen years since his passing to the point where only the music matters. And the play delivered on that premise and then some. In addition to the above mentioned tracks were rare gems like “Climb Every Mountain” (from MJ’s childhood), “You Can’t Win” (from The Wiz), and “Stranger in Moscow” and “Tabloid Junkie” (both from HIStory). The show even found a way to mashup 1987’s “Bad” with 1995’s “2 Bad” (also from HIStory). The one glaring omission: “Dangerous,” the 1991 title track from the album and tour on which this whole story was based.
Various eras of Michael were depicted with at least five different actors portraying different stages of his life. We got a young Motown Michael (with his brothers), Soul Train Michael, Michael in The Wiz, Michael coming into his own with Epic Records, Off the Wall Michael, Thriller Michael, Bad Michael and, of course, the Dangerous one. We saw Michael reconciling the various father figures like Berry Gordy and Quincy Jones, plus his own dad Joseph, with the ongoing conflict between the King of Pop and his tour manager, Rob (played superbly by actor Devin Bowles who also played Joe Jackson), who constantly challenges the feasibility of expensive late show adds—like that “pop-up toaster”—Jackson so desperately wants to kick off each night.
Ultimately, it was the 1992 version of Michael—a sad, embattled, but still occasionally playful star who hadn’t yet been hit with the allegations that would permanently tarnish his legacy—whose perspective mattered most. And by the time he gets his wish—that pop-up ejection onto the stage—the audience was ready to erupt into the frenzy we became.
In the end, my mother and I could hardly contain ourselves as MJ and company rocked the house with that “Jam”/“Black or White”/“Wanna Be Startin’ Somethin’” medley during the show’s encore. Every exaggerated fist-pump I made as MJ exclaimed “Jam!” during that song’s chorus felt like a full-circle victory lap—not just for me and Mom who had purchased my very first Jackson 5 records some 55 years earlier, but for the legacy of the man to whom I arguably owe my immense love of music in the first place.
Jackson, who died on June 25, 2009, would have been 67 years old on Friday (August 29). May he continue to rest in peace.
Here are the song numbers from MJ the Musical:
Act I – Rising Momentum & Roots
1. Beat It – A high-octane opener that hits you like a lightning bolt, setting the emotional and musical tone. I almost stood and did the famous dance sequence myself.
2. Tabloid Junkie / Price of Fame – A gritty mash-up that contrasts Jackson’s fame with the media’s scrutiny.
3. Shout / Papa’s Got a Brand New Bag / (Your Love Keeps Lifting Me) Higher and Higher – A burst of soul-infused joy from the ensemble. Michael’s influences (the Isley Brothers, James Brown, Jackie Wilson).
4. Climb Ev’ry Mountain – A poignant Rodgers & Hammerstein moment—unexpected, yet emotionally powerful.
5. Jackson 5 Medley (“The Love You Save” / “I Want You Back” / “ABC”) – Heartfelt callbacks to MJ’s childhood with his brothers.
6. I’ll Be There – An emotional payoff, featuring Jackson’s mother Katherine.
7. Don’t Stop ‘Til You Get Enough / Blame It on the Boogie / Dancing Machine – A kinetic, celebratory dance sequence. Michael’s coming of age.
8. Stranger in Moscow – A mood shift to introspective, melancholic tones.
9. You Can’t Win – A narrative touchstone, linking to early creative struggles and triumphs. From The Wiz.
10. I Can’t Help It – Far from mainstream MJ, this Off the Wall classic brings unexpected introspection.
11. Keep the Faith – Uplifting and reassurance-laden, a turning point towards hope.
12. Wanna Be Startin’ Somethin’ – Full of energy and potential, signaling MJ’s ascent.
13. Earth Song / They Don’t Care About Us – A socially conscious, emotionally heavy close to Act I.
Act II – Peaks, Reflections & Legacy
14. Billie Jean – A solo spotlight moment, iconic and emotionally charged, Motown 25-style.
15. Smooth Criminal – Crisp, kinetic, and a major audience electrifier. The show’s best performance.
16. For the Love of Money / Can You Feel It – A familial ensemble piece from the O’Jays meshed with the undeniable groove of the Jacksons’ classic.
17. Money – A compelling solo interlude highlighting familial tensions. A natural follow-up to the O’Jays classic.
18. Keep the Faith (Reprise) – Reinforces the emotional through-line.
19. She’s Out of My Life – A vulnerable, tear-inducing ballad.
20. Jam – A rhythmic, crowd-rousing number that bridges themes. Go with it!
21. Human Nature – Tender and intimate, capturing MJ’s sensitivity.
22. Bad / 2 Bad – Strong and defiant, a bold pop punch. “2 Bad” should’ve been a hit in 1995.
23. Price of Fame (Reprise) – A reflective moment on the costs of celebrity.
24. Thriller – With ensemble and atmosphere—pure spectacle.
25. Man in the Mirror – A stirring emotional core culminating in collective reflection.
26. Jam (Reprise) / Black or White / Wanna Be Startin’ Somethin’ (Reprise) – An uplifting, unifying mash-up finale.
27. Encore: Working Day and Night (Instrumental) – Orchestra-driven send-off—a playlist trigger.
DJRob
DJRob (he/him) is a freelance music blogger from the East Coast who covers R&B, hip-hop, disco, pop, rock and country genres – plus lots of music news and current stuff! You can follow him on Bluesky at @djrobblog.bsky.social, X (formerly Twitter) at @djrobblog, on Facebook or on Meta’s Threads.
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