You’ve seen the moonwalk on YouTube, maybe even caught a grainy VHS of the Dangerous tour back in the day, but walking into the Providence Performing Arts Center (PPAC) for MJ the Musical PPAC is a different beast entirely. People usually expect a standard "and then he wrote this hit" jukebox musical. It isn’t that. Honestly, it’s more of a high-speed psychological fever dream set inside a rehearsal studio in 1992.
The show is currently tearing up the stage at PPAC through January 26, 2026. If you’re looking for a seat, you’re basically competing with every MJ fan in New England, and for good reason. The production doesn't just play the hits; it dissects the pressure cooker of 1992, specifically the days leading up to the Dangerous World Tour.
The 1992 Snapshot: Why the Timeline Matters
Most bio-musicals try to cover sixty years in two hours. They fail. MJ the Musical PPAC succeeds because it zooms in. It’s 1992 in Los Angeles. Michael is under the gun. An MTV crew is lurking in the corners of the rehearsal space, trying to get "the real Michael," while the man himself is obsessed with making a toaster—that thing where he pops up through the floor—work perfectly.
It’s a smart framing device.
By staying in 1992, the show sidesteps the later, more harrowing controversies that would define his final years. Instead, it focuses on the "King of Pop" at his absolute creative zenith. You see the perfectionism that made him a legend and the personal demons that made him a ghost. When he looks at his stage manager, Rob, and sees his father, Joe Jackson, the room gets cold. It’s a gut-punch that reminds you this isn't just a concert.
Who is the Man in the Mirror?
The cast on this national tour is doing some heavy lifting. Jordan Markus, who leads the show as "MJ," doesn't just do an impression. Anyone can buy a sequined glove and a fedora. Markus captures the vibration. The high-pitched, breathy speaking voice? Check. The sudden, violent precision of a shoulder pop? Absolutely.
But it’s the layering that counts.
- Little Michael: Usually played by Quentin Blanton Jr. or Bryce A. Holmes, this version represents the Motown-era prodigy. The "I Want You Back" energy is infectious but carries the weight of a childhood lost to the studio.
- Michael: Brandon Lee Harris often takes this "middle" version, representing the Off the Wall and Thriller era. This is the bridge between the kid and the icon.
- MJ: This is the 1992 version. The leader. The man who is terrified of being "ordinary."
Watching all three versions of Michael share the stage during "Man in the Mirror" is one of those theatrical moments where you forget to breathe.
The Supporting Powerhouses
Devin Bowles pulls double duty in a way that is genuinely unsettling. He plays Rob, the tour manager who is just trying to keep the budget from exploding, and Joe Jackson, the patriarch. The transition between the two is seamless and serves as a constant reminder that Michael never really escaped his father's shadow. Then you have Rajané Katurah as Katherine Jackson, providing the emotional spine of the show with "I'll Be There."
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The Set and Sound: Pure Adrenaline
Let’s talk about the PPAC venue for a second. That theater is a masterpiece of marble and gold, and it’s the perfect backdrop for a show that looks this expensive. The lighting design by Natasha Katz is essentially a character in itself. There are moments where the stage is a stark, cold rehearsal hall, and within a snap, it’s a stadium-sized explosion of neon.
The sound is loud. Like, "feel it in your ribcage" loud.
Gareth Owen’s sound design ensures that "Billie Jean" hits with the same impact it did in 1983. However, some audience members have noted that during the dialogue-heavy scenes, the balance can be tricky. If you’re sitting way back in the balcony, you might miss some of the quieter, more vulnerable lines between Michael and the MTV reporter, Rachel (played by Kristin Stokes).
What the Critics (and Fans) Get Wrong
The biggest misconception about MJ the Musical PPAC is that it’s a "whitewashed" version of history. While it’s true the show is sanctioned by the Jackson Estate, Lynn Nottage—a two-time Pulitzer winner—didn't write a fluff piece. She wrote about a man addicted to painkillers. She wrote about a man who couldn't sleep. She wrote about the trauma of being a child star in a world that wanted to consume him.
The show addresses the "noise" of the press through the song "They Don't Care About Us." It portrays the media as a literal wall of flashbulbs and grasping hands. It’s a sympathetic portrait, sure, but it’s not a shallow one.
Is it kid-friendly?
PPAC recommends the show for ages 8 and up.
Honestly, it’s fine for kids who love the music, but be prepared for some heavy themes. The depictions of Joe Jackson’s "discipline" are intense. There's no profanity to worry about, but the emotional weight is real. If your kid just wants to see "Smooth Criminal"—which is arguably the best-choreographed number in the history of modern musical theater—they will be thrilled.
Logistics for the Providence Run
If you’re heading to the Weybosset Street landmark, plan ahead. Providence traffic is... well, you know.
- Parking: The PPAC Square Garage is the closest, but it fills up two hours before curtain. Check the Innovation District Garage on Clifford Street for a shorter walk than you'd expect.
- Run Time: 2 hours and 30 minutes. This includes a 15-minute intermission.
- The Merch: It’s pricey. A hoodie will run you about $70, but the quality is surprisingly decent.
The show moves fast. Christopher Wheeldon, the director and choreographer, comes from the world of ballet, and you can see it in the transitions. The way a rehearsal rack of clothes turns into a 1970s TV set is theatrical magic at its finest.
Taking it All In
When the curtain falls after "Black or White," the energy in the room is usually electric. You aren't just clapping for the performers; you’re clapping for the sheer stamina required to pull off that choreography for eight shows a week.
Next Steps for Your Visit:
Before you head to the theater, grab a bite at one of the spots on Empire Street—it’s a quick walk and beats the "dinner rush" closer to the theater. If you haven't bought tickets yet, check the PPAC official website for "dynamic pricing" updates; Tuesday and Wednesday night shows often have lower price points than the weekend matinees. Finally, make sure to arrive at least 30 minutes early. The security lines at PPAC can get backed up, and you do not want to be the person walking in during the opening "Beat It" sequence.