The Criterion

The musical Two Strangers (Carry A Cake Across New York) underwent considerable development over the last few years before arriving at The Kiln in London where it mopped up enough critical and audience acclaim to justify a transfer to the West End. This two-hander tells the story of two 20-somethings in New York for a wedding. Sam Tutty plays an enthusiastic British man who believes all the cliches about the Big Apple, and Dujonna Gift is a cynical New Yorker who puts him right. The plot is essentially as it says in the title.

Two stars carry a play across London

• Lyttelton Theatre

An adaptation by Ben Power (The Lehman Trilogy) of Charles Dickens’ last completed novel Our Mutual Friend, with songs by P J Harvey, must have seemed like a surefire winner. Running through the typically Dickensian larger-than-life characters and complex plot about money, poverty, death and resurrection is the River Thames itself. Sadly for the National Theatre, the critics were not swept away. On thecwhole, they found the script shalloe but Bunny Christie’s set which evoked the river went down well. PJ Harvey’s song proved a sticking for most critics. So, Ian Rickson’s production was greeted with three and two star reviews with just one critic enthusiastic enough to award four stars.

[Links to full reviews are included but a number are behind paywalls and therefore may not be accessible]

That was Andrzej Lukowski in Time Out (4★). ‘The performance space becomes the Thames – the effect is majestic and disconcerting (I felt a bit seasick in places),’ he shared. It was, he said, ‘Dickens’s late class drama turned into a work both elemental and righteous.’

Arifa Akbar in The Guardian (3★) found it ‘light on the satire and heavy on mood, strikingly staged as a kind of 19th-century noir.’ She concluded: ‘The play winds up to a melodramatic end, with its potboiler elements exposed, but it still retains a curious power, and performances shine.’

Sarah Hemming at the Financial Times (3★) admired the ‘restless, intelligent, absorbing production’ but thought, ‘as drama it is held back by sheer narrative bulk.’ Susannah Clapp in The Observer (3★) decided: ‘Ian Rickson’s production aims to be more than episodically charged, to explore the life of the city that is not contained by character. It is not sufficiently wraparound-vibrant to achieve this.’

For Sam Marlowe in The Stage (3★) ‘emotional impact is a casualty’ and  ‘its characters don’t quite come to life, drowning in the politics and plot mechanics’ but she did appreciate ‘The performances are sinewy and direct, with Ellie-May Sheridan scene-stealing.’ Dominic Cavendish in the Telegraph  (3★) agreed: ‘the laurels go to the transfixing stage debutante Ellie-May Sheridan, who seems to have stepped out of Dickens’s imagination.’ Otherwise, for him, it was a ‘five-star wow bobbing in a three-star show.’

Fiona Mountford in the i (3★), like many others couldn’t resist a watery metaphor: ‘we emerge from this theatrical river feeling slightly soggy and mildly bewildered.’ Sarah Crompton at Whats On Stage (3★) also took a dip: ‘it feels bogged down in the shallows, never quite plunging into the depths of the story’s meaning or fulfilling its own intelligent and honest intentions. It’s full of integrity, but lacks drama.’

And so to the ones who really took against it. Alexander Cohen at Broadway World (2★)  said: ‘reduced to its naked mechanics, the exposition laden writing lacks the lustrous life blood that so warmly flows through the veins of Dickens’s literary worlds.’

Clive Davis in The Times (2★) came out fighting, calling it ‘this weirdly misconceived adaptation’. He didn’t pull his punches: ‘Ian Rickson’s lumbering production is anything but a page-turner.’ And a final kick at the ‘crowded, undernourished melodrama.’

For David Benedict at The Standard (2★) it was ‘a leaden three-and-a-quarter hours.’ His analysis of the failings of the adaptation included this comment: ‘where Dickens’ contextualised writing allows coincidence to thrive, in dialogue as bald as this, the coincidences just feel contrived.’ He concluded, ‘Near the end, Rokesmith sings “Why, why, why, why, why…” Indeed.’

PJ Harvey’s songs

It seems you either like PJ Harvey or you don’t, and the critics didn’t, except for the Time Out reviewer who is clearly a fan: ‘Harvey’s songs are integral…the poised drama they provide feels vital to a show which is bigger on storytelling than emotions and might have felt flat without its spine-tingling tunes.’ The Guardian had a foot in both camps, describing the songs as ‘anti-ballads’ whose ‘seriousness gives the story a lugubrious depth but also undercuts Dickens’ satire and levity.’

No-one else had a good thing to say about them. Tim Bano in The Independent (3★) noted ‘as the story gets more interesting and the characters richer, the songs remain the same – each character stands centre stage and sings out at the audience – until you can’t help sighing a little when another one strikes up, knowing another dirge is on its way.’ The i had a similar thought: ‘It’s a fine idea, but one that plays to decidedly diminishing returns as the mournful, almost identical-sounding numbers mount up.’

The Financial Times said the songs ‘add to the ballast and, often in a gloomily low register, are challenging to deliver.’ For WhatsOnStage, ‘the songs, which are dark and relentless as well as impressive, have a tendency to stop the action rather than move it on.’ The Telegraph agreed: ‘those ditties often impede the action, without adding much ambience.‘ ‘It sounds as if Harvey is constantly recycling the same two slender, indie-flavoured themes,’ said The Times.

For The Observer, ‘They supply a dark, rough undertow but they don’t push on the drama. Rather, like a tide, they simply recur.’ To the ears of The Standard: ‘Harvey’s ceaselessly repetitive, deadeningly slow rhythms and mostly stolidly unchanging harmonies – unhelped by Powers’ flat, earnest lyrics – never make a case for songs being in the show whatsoever.’ Broadway World too could have done without them and didn’t let politeness stand in the way of a good insult. The ‘sludgy dirge’ was a ‘bloated concoction of subdued power ballads paired with painfully superficial lyrics are such a tagged-on afterthought that the production couldn’t just go on happily without it, but would actively improve if it were abandoned.’

Thank goodness for Bunny Christie’s set

Time Out gave a vivid description: ‘At first the performance space looks virtually unadorned. Soon though, the entire ceiling – or rather a series of poles the lights are attached to – starts to undulate, rising and falling like the tide. Eventually it’s joined by the very surface of the stage, which ripples and heaves.’

The Independent recorded: ’50 spotlights hanging over the stage in receding strips, each undulating slowly, giving the queasy impression of the river somehow reflected in the sky, rather than the other way around.’ The Observer said: ‘Christie’s set – with iron lighting rigs that rise and fall – is evocatively adamantine, when not looking like decor for a 21st-century loft.’

The Stage referred to ‘a flinty, hard-edged staging‘ and the i called it ‘striking’.

London Tide can be seen at the National’s Lyttelton Theatre until 22 June 2024

Average critics’ rating 2.8★

Value Rating 41 (Value rating is the Average Critic Rating divided by the typical ticket price. In theory, this means the higher the score the better value but, because of price variations, a West End show could be excellent value if it scores above 30 while an off-West End show may need to score above 60. This rating is based on opening night prices- theatres may raise or lower prices during the run.)

If you’ve seen London Tide, please add your review and rating below

National Theatre

The Brontë sisters are re-examined in Sarah Gordon’s comedy Underdog: The Other Other Brontë, which won the Nick Darke Award in 2020 and is now given an outing at the National’s small Dorfman Theatre. Most critics occupied the middle ground, finding it funny but shallow, but the i gave it a rare 5 stars while The Stage could only find a curmudgeonly two. Gemma Whelan from Game of Thrones and Upstart Crow stands out as Charlotte in a story of sibling rivalry also featuring Rhiannon Clements as put-upon Anne, and Adele James as marginalised Emily.

[Links to full reviews are included but a number are behind paywalls and therefore may not be accessible]

Let’s start with Fiona Mountford in inews (5★). Describing it as ‘ebullient’, she said it was ‘as joyously invigorating as a brisk walk over the Yorkshire Moors’. She liked the ‘robustly 21st-century critique of sisterhood, ambition, reputation and gatekeeping’ and said, ‘Whelan is in her element as the uncompromising Charlotte, witty, selfish and magnificent with it.’

Neil Norman in the Mail (4★) liked the sisters: ‘Arresting performances from Whelan as the deeply unsympathetic Charlotte, Clements as the independent-but-withdrawn Anne and James as the stoical Emily keep Gordon’s spirited play alight.’

And so to the three star reviews. Here’s Arifa Akbar in The Guardian (3★): ‘Directed with pace by Natalie Ibu…Gordon’s script bounces along, albeit with some glaring modern-day lessons on masculinity and inequality tacked on. It is quick-witted and amusing’, then comes the iron fist in the velvet glove, ‘though it never deepens enough for the emotional punches to land.’ She praised the look of it: ‘the exposure of envy and competition beneath the Brontës’ sisterliness is mirrored in the visual metaphor of Grace Smart’s set which consists of a verdant floral mound uprooted at the start to reveal dark matter beneath.’

Dominic Cavendish in the Telegraph (3★) talked of a ‘canny, but in my view overly perky, portrait of the siblings’. He expanded, ‘It’s as if in fearing to make the past dull, it must be brought alive in primary colours. In avoiding the clichés of the Gothic…she errs towards the goonish.’ His final comment suggested he was judging the show by the standard of an imaginary play in which ‘the novels, in all their richness, … speak for themselves.’ On the plus side: ‘It’s very stylishly designed by Grace Smart, pacily staged by Natalie Ibu, and winningly played across the board.’

For Sarah Crompton at Whats On Stage (3★), ‘Natalie Ibu’s direction (is) confident and fleet…Whelan…is commanding as she turns Charlotte into a monster…Adele James brings deep emotion to the under-written part of Emily, author of Wuthering Height.’ However, she seems to be having the same thought as the Telegraph critic: ‘what goes missing amidst the humour and the sisterly squabbling, is the sense that the Brontës did actually deserve their place in the literary canon.’Nick Curtis used plenty of complimentary adjectives in his review in the Standard (3★)- ‘rumbunctious’ ‘playful and visually witty’ but he also damned it as ‘slender’.

Heather Neill at The Arts Desk (3★)felt ‘Natalie Ibu’s speedy direction fits the light-hearted, often caricatured storytelling, the audience always knowingly acknowledged…Whelan is a fire-cracker, rarely still, very funny.’

Clive Davis in The Times (3★) described it as ‘hyperactive burlesque’, and ‘a short story posing as a novel.’ In compensation, he found ‘Gemma Whelan’s salty performance always holds your attention’ and he appreciated ‘All the salty language, not to mention the unashamedly anachronistic jokes’.

Andrzej Lukowski in Time Out (3★) also liked Gordon’s script and Gemma Whelan’s performance: ‘(the) dialogue is blunt, funny and wilfully anachronistic..the supremely watchable Whelan devours her part whole’. Although he liked ‘Natalie Ibu‘s larky, visually inventive production’ and thought ‘Underdog is a very funny play,’ he felt, ‘That funniness doesn’t always work to its advantage. It has nuanced points about authorship, legacy and family that are obscured by the sound of laughter.’

Lucy Kenningham at CityAM (3★) took it quite personally. Having told us she has a sister, she ended her review: ‘Short and ambitious, it hurls ideas into the Yorkshire air, many of which land flat. But examinations of sisterhood are depressingly rare, so when those ideas are explored, they hit hard.’ (She clearly missed Till The Stars Come Down, The House of Bernarda Alba and Dancing At Lughnasa, all recently at the National, and all exploring sisterly relationships.)

While Sam Marlowe in The Stage (2★) made many of the same points as her fellow critics, she was less forgiving. She referred to it as being ‘reductive to the point of becoming glib and cartoonish’. ‘There’s nothing deeply felt and scant sense of character, in a play more invested in winning easy laughs,’ she said. ‘The actors are game and hard-working, and at best it’s mildly entertaining. But as an exploration of women who left us such sinewy, sexy, courageous writing, it feels like a sadly wasted opportunity.’

The Observer’s Susannah Clapp (2★) had little time for the show: ‘where in this mechanical modernisation is the imaginative power that makes the sisters worth attending to?’ although she did concede: ‘Natalie Ibu’s strenuously comic production gets lively perfs from Rhiannon Clements as Anne…Adele James as vibrant Emily, and Gemma Whelan as domineering Charlotte.’

Underdog can be seen at the National Theatre until 25 May 2024. Buy tickets direct from nationaltheatre.org.uk

Average Critic Rating 3.1★

Value Rating 48 (Value rating is the Average Critic Rating moderated by the typical ticket price. In theory, this means the higher the score the better value but, because of price variations, a West End show could be excellent value if it scores above 30 while an off-West End show may need to score above 60. This rating is based on opening night prices- theatres may raise or lower prices during the run.)

Read Paul Seven Lewis’s review of Underdog

If you’ve seen Underdog, please add your review and rating below

Wyndham’s

Eugene O’Neill’s Long Day’s Journey Into Night is one of the great American plays of the twentieth century, some say the greatest. The latest West end production, directed by Jeremy Herrin, brings together Succession star Brian Cox as the paterfamilias James Tyrone, and Patricia Clarkson as his morphine-addicted wife Mary. It is she, even more than he, who got the critics excited. This is a long play, as most of the reviews reminded us. ‘For three and a half hours, the four members of the Tyrone family – a morphine addict, two alcoholics and a consumptive – shout and mope and recriminate’ (to quote The Independent).  The supporting cast of Laurie Kynaston,  Daryl McCormack and Louisa Harland (recently seen in Ulster American) were all well received.

[Links to full reviews are included but a number are behind paywalls and therefore may not be accessible]

Dominic Cavendish in the Telegraph (4★) praised both stars. About Brian Cox he said: ‘this verbose, confined epic calls for vocal clout and physical heft. Which he has.’ Then: ‘the terrific American actress Patricia Clarkson as the stricken matriarch generates an increasingly hypnotic force of unstable energy.’ The play is, he said, ‘a heart-rending mirror of forsaken souls in which we may all glimpse our own familial griefs.’ He ended with one word: ‘Recommended.’

Sarah Crompton at Whats On Stage (4★) had  this to say about the duo: ‘Cox, all bark and ferocity, plays up the character’s fury, his sense of betrayal, his anger at the world and himself’ and ‘In Patricia Clarkson’s eagle-sharp interpretation, Mary (is) a dominant force, whose evasions, untruths and occasional moments of absolute knowledge prevent her family from confronting their own demons.’ She was impressed by ‘The clarity and directness of Herrin’s production and the way that the cast both speak and listen with absolute intent brings it to vivid life once more.’

For Nick Curtis in The Standard (4★) ‘Cox is magnetic as Tyrone, volcanic one moment, maudlin the next. He’s well-matched by Clarkson whose prim body language and sly evasions betray the wariness of the secret addict.’ The rest of the cast hold their own: ‘Jeremy Herrin’s production is full of pathos and ruined grandeur, with superb performances all round.’ He noted ‘Kynaston…brings great delicacy and watchfulness to Edmund: he also resembles Clarkson in profile. McCormack…brings a malign, defeated charisma to Jamie. Derry Girls’ Louisa Harland turns the caricatured Oirish servant Kathleen into a gust of light relief.’ He had praise too for the look of the production: ‘Designer Lizzie Clachan emphasises the oppressive, inescapable nature of their tragedy with a cramped box of a set.’

Louise Penn at Broadway World (4★) didn’t find it too long: ‘not a second is wasted in Jeremy Herrin’s fine production, which features a delicate showcase of addiction, longing, and despair from Patricia Clarkson.’ She also thought Brian Cox gave ‘a mesmerising performance’. She shared with other critics an admiration for the way ‘Lizzie Clachan’s set and costumes capture the sense of a prosperous past while providing muted hues which fit well with Jack Knowles’s lighting.’ She clearly loved the play: ‘Long Day’s Journey Into Night is the mirror into which we can see our souls.’

Sam Marlowe in The Stage (4★) thought it was ‘faultlessly performed’, but reserved her highest praise for the two stars:  ‘A serene smile battling with tiny nervous gestures, her eyes increasingly somnolent and vague as the drug kicks in, Clarkson is shattering. Cox’s James combines an ox-like bulk and power with the silver-haired, self-conscious elegance of an old stager.’ She concluded: ‘It’s a demanding experience, which Herrin allows to accumulate its force slowly, but the acting here is dauntless: a monumental testament to domestic agony.’ Matt Wolf at The Arts Desk (4★) centred his review around Patricia Clarkson: ‘Jeremy Herrin’s slow-aborning if properly sorrowful production confirms a sense confirmed by experience that this text really does belong to Mary’. (‘Aborning’ is an American word for being born.)

Susannah Clapp in The Observer (3★) thought not only was it long but also didn’t half the impact it should: ‘Jeremy Herrin’s production is careful, slowly gathering – and three-and-a-half hours long. The opening scenes are muted, not so much anguished as anxious.’ She continued, ‘Solo confessions are the motor of the play but they gain in intensity with a greater sense of family…than there is here. The wounds look grave, not – as they should – fatal.’ However, she was impressed by ‘the sheer force of writing and of acting’.

Tim Bano in The Independent (3★) described how ‘Herrin turns this into a showcase for Big Acting, with no distractions.  The stripped-back approach is really exposing, and there are moments when it doesn’t bear up to the scrutiny.’  Even though he found ‘some scenes in the second half feel really bum-numbingly long,’ the play is, he said, ‘very impressive, often mesmerising and – when it hits right – really profoundly moving.’ About Patricia Clarkson, he said she ‘has an extraordinary ability to flitter in and out of reality, sometimes just with her eyes.’

For Arifa Akbar in The Guardian (3★), while ‘Cox is, as always, thrilling to watch’…’it is Patricia Clarkson…who steals the show…hers feels like a true, infuriating, compassionate portrait of an addict.’  She was not entirely won over by O’Neill’s play: ‘Some scenes glitter with dark energy, and are truly tragic. Others feel protracted, the play’s old-fashioned exposition exposed, and the over-used device of characters narrating memories feeling like lengthy confessions.’

While all the critics loved Patricia Clarkson, some were less sure about Brian Cox. Fiona Mountford in inews (3★) said: ‘Clarkson is magnificent, giving the performance of the evening, shaping Mary into a figure of almost ethereal radiance, present but also absent’ but ‘Cox struggles to shift register sufficiently and convinces us a little less of the weight of the wounds he bears, especially in comparison to Clarkson’s deep mining of truth.’ She found ‘The almost three-and-a-half hours of Jeremy Herrin’s production do weigh heavily.’ Andrezej Lukowski in Time Out (3★), while praising ‘a superlative turn from …Patricia Clarkson’, opined, ‘Cox doesn’t quite nail the role of James Tyrone’. He also had reservations about the direction: ‘mostly this is a very straight production… It’s a daunting play, yes, but it shouldn’t be a museum piece.’

Least convinced was Clive Davis in  The Times  (2★): ‘O’Neill grinds us into submission with dialogue which turns in achingly slow circles,‘ he said. ‘Cox is always watchable,’ he admitted, ‘but he’s still not able to prevent long-winded confrontations and confessions from slipping into melodrama.’ He didn’t like the production either: ‘Herrin’s prosaic approach doesn’t supply much in the way of light and shade. Lizzie Clachan’s austere set design offers little to please the eye, either.‘

Long Day’s Journey Into Night can be seen at Wyndham’s Theatre until 8 June 2024. Buy tickets directly from delfontmackintosh.co.uk

Average critic rating (out of 5) 3.4★

Value rating  23 (Value rating is the Average Critic Rating divided by the typical ticket price. In theory, this means the higher the score the better value but, because of price variations, a West End show could be excellent value if it scores above 30 while an off-West End show may need to score above 60. This rating is usually based on opening night prices- theatres may raise or lower prices during the run.)

If you’ve seen Long Day’s Journey Into Night, please add your review and rating below

Prince Edward Theatre

MJ The Musical has been a money-spinning success on Broadway, now it hopes to repeat the magic in London’s West End before conquering the rest of the world. The book is by double Pulitzer Prize winner Lynn Nottage who wrote Sweat. She covers Michael Jackson‘s life and career up until the eve of the Dangerous tour. This has the advantage that no mention need be made of the allegations of child abuse which were first publicised during that tour. That doesn’t stop all the critics mentioning the ‘elephant in the room’. But how did it affect their reviews? They were largely divided between those who can put the allegations aside and those who can’t. If you belong to the former, there is clearly much to enjoy in Christopher Wheeldon‘s choreography and of course Michael Jackson’s music, brought to life by the original Broadway star Myles Frost.

[Links to full reviews are included but a number are behind paywalls and therefore may not be accessible]

Neil Norman in The Express (4★) had a nifty way of justifying his concentration on the show: ‘Any attempt to cancel a man who has already been cancelled by God is a redundant exercise. The music stands. The songs are amazing. Let that be enough.’ And, pre-empting the criticism that this is just another jukebox musical: ‘Some may consider this a hollow, vacuous enterprise but this is show business, folks, and it is his artistic, not personal, legacy that is being celebrated.’

Dominic Maxwell in The Sunday Times (4★) was similarly accommodating. He accepted that it’s ‘a partial account’. ‘As drama it only goes so far. As spectacle, as a celebration of what he achieved in song and dance, it’s pretty much sensational.’ Earlier in his review, he praised it as ‘a jaw-droppingly well staged, fabulously sung and fluidly choreographed act of necromancy.’

The Independent‘s Alice Saville (4★) felt there was ‘enough darkness’ in the story up to that point. She was impressed by the way Lynn Nottage’s script ‘exposes Jackson through his songs, showing how he increasingly danced to the rhythms of past traumas’ (referring to his childhood). She liked the way Myles Frost ‘moves with a dreamy, fantastically eerie lightness’ and she praised ‘Derek McLane’s impossibly lavish scenic design and a universally strong cast.’

Sarah Crompton at Whats On Stage (4★) found that ‘it not only swerves the controversies surrounding him, but also never begins to reach the mystery that made his music so magical and yet the man so opaque.’ The quality of the production and its star seemed to compensate: ‘staged by Wheeldon with such energy and panache that the trajectory is breathtaking.’ (Frost’s) impersonation of Jackson’s choreography is razor sharp..but even more impressively he does manage to conjure something of the tortured soul behind the image.’

Nick Curtis in The Standard (4★) concluded: ‘You leave ravished by the spectacle of it all, with countless earworms lodged in your head, and then the moral dubiousness of the enterprise sinks back in.’  He explained why it is possible to get carried away and temporarily ignore what he calls ‘the elephant in the room’: ‘That the show still works is largely down to the half-quicksilver, half-machine performance of Frost…Christopher Wheeldon’s production is a superlatively directed and choreographed piece of absolute pizzaz…writer Lynn Nottage gets to deftly intertwine Jackson’s life and his art.’

For Andrzej Lukowski in Time Out (3★), ‘the omission of any allusion to his friendships with children feels… noticeable’, but concluded ‘A big commercial musical is probably never going to be the medium for the great Michael Jackson drama.’ He loved the ‘jaw-droppingly talented original Broadway star Myles Frost.. Jackson’s arsenal of moves were so singular – and so technically dazzling – that it doesn’t feel dated at all.’

While acknowledging that the show is ‘impossible to view today entirely outside the prism of the allegations’, The Telegraph‘s Claire Allfree (3★) was another critic who focussed on enjoying the show: ‘it’s arguably guilty of magical thinking in casting him exclusively as a victim. But does this make his art – as so beautifully honoured here – any less intoxicating? I’m not sure in the end it does.’  What intoxicated her most was Frost ‘capturing precisely Jackson’s sublime, peculiarly agitated grace, his limbs seemingly made from tensile liquid as he thrusts and coils, shimmers and spins, like a man made from air and light, dancing on water. Blending a pop-video aesthetic with simply superb choreography’.

In The Times (3★), Clive Davis was more cynical about the standard of the production: ‘If the day comes when musicals are created by artificial intelligence they may well resemble this jukebox show. It’s proficient, but oddly soulless.’ In a classic praise sandwich, he said: ‘Christopher Wheeldon’s production offers an immaculately choreographed evening of 24-carat karaoke anchored by the sleek dance moves of..Myles Frost.’

Anya Ryan in The Guardian (2★) was not seduced. She admitted ‘the stage becomes a hub of neon and gravity-defying dance moves’ and that Myles Frost is ‘a shapeshifting force’, however ‘Some might be able to separate Jackson’s art from the artist. But…I felt queasy – bad, even.’

Sam Marlowe in The Stage (2★) was another who felt ‘the glaring omission of any confrontation of the allegations against Jackson of child sexual abuse…makes its smooth, glossy, hagiographic tone feel hollow, if not plain dishonest.’ She was also more critical than some reviewers of the main elements of the show: ‘Lynn Nottage’s book is, at best, workaday and, at worst, excruciatingly contrived…dramatically, it’s all very bland.’ For her, in a statement that will shock Michael Jackson fans, ‘even the groundbreaking music..becomes a little monotonous.’ Taking an opposite view to The Standard (see above), she said it was ‘sounding strikingly dated’.

Alexander Cohen at Broadway World (2★) says it all in his opening paragraph: ‘At its best MJ: the Musical is a tribute act populated by a mixtape of Michael Jackson’s greatest hits and the signature silky angularity of his choreography. At its worst this slathered-in-schmaltz hagiography is like watching the Zone of Interest: you know the disturbing stuff is always just out of view.’

Ludovic Hunter-Tilney in the Financial Times (2★) chose a more sarcastic approach: ‘not since Jesus Christ Superstar has the West End hosted such a saintly protagonist as the hero of MJ the Musical.’ He had no illusions: ‘the production’s main rationale is to get as many songs on the jukebox as possible.’

MJ The Musical can be seen at the Prince Edward Theatre until 7 December 2024. Buy tickets direct from london.mjthemusical.com

Average critic rating (out of 5) 3.1★

Value rating  31 (Value rating is the Average Critic Rating divided by the typical ticket price. In theory, this means the higher the score the better value but, because of price variations, a West End show could be excellent value if it scores above 30 while an off-West End show may need to score above 60. This rating is based on opening night prices- theatres may raise or lower prices during the run.)

If you’ve seen MJ The Musical, you are welcome to add your review and rating below (but please keep it relevant and polite)