Man in the MirrorLast evening’s presentation at the glorious Golder’s Green Hippodrome (owned since 2021 by the Hillsong Church, whose internal decoration scheme renders the auditorium a huge piece of Wedgewood Jasperware), offered little insight into the megastar’s mindset, or the unsavoury proclivities which various documentaries and court cases have sought to bring into the wider public domain. Instead, long time Jackson impersonator CJ who began mimicking his musical hero at the age of 4, simply focuses on delivering the on-stage moves, music and mannerisms of the megastar who died in the summer of 2009, a full 3 years before the London 2012 Olympic Games and 7 years before the UK voted for Brexit. And yet could I be the only person in the audience who felt that the shocking announcement of his death seems barely a couple of years ago?
My, how the world has changed in the intervening time. For one thing, the very way in which we listen to music or access details about the lives of our musical heroes, has been revolutionised. The accusations of grooming, molestation and pedophilia, the excessive use of drugs and the weirdly disconcerting erratic and reclusive behaviour, have filled newspapers and docudramas ever since Jackson’s death. And yet, the North London venue was full, and not just of blue-rinse stalwart fans from yesteryear. There were entire families present, including granny, dad, mum and little 5 or 6 year olds, all jigging about doing the poses and the moves. This show has a weirdly incongruous element to it, and not simply because of the circumstances of Jackson’s demise, but of the vehemence and positivity of his legacy fanbase. One could almost describe it as Trumpian (although the orange menace has never brought anything remotely positive or talent-based into existence).
For such a tribute show, it is about the man, the mysticism and the star’s extraordinary output during his 50 years, which induce an understandable and necessary myopia. I for one, have always believed in the need to separate the creator from the work, otherwise we condemn ourselves to a life lived surrounded by the output of those dull, careful and cautious souls who will never tax, challenge or drive humanity’s creative endeavours.
Bach, Handel, Beethoven, Picasso, Bacon and the output of literally hundreds of flawed creative geniuses, would have been obliterated by today’s obsessive need to destroy and eradicate anyone ever associated with the merest hint of personal impropriety or poor decision making. Michael Jackson certainly fell into that category, but the back catalogue of music which brought joy to billions is also undeniable. If as a fan, you choose to focus on the performances rather than dwelling on the damaged human being (and the damage he inflicted), you will undoubtedly derive great pleasure in watching CJ, his four female dancers and the 4 piece onstage band delivering the goods. And maybe, just maybe, that is all this show should be about. Ironically, as Jackson wrote about Man in the Mirror in his 1988 memoir Moonwalk: “I love that song… start with yourself. Don’t be looking at all the other things.” You can catch the production at various venues on tour and don’t worry, if you are slightly late, the second half is crammed with the not-to-be-missed showstoppers.
Cast
CJ - as Michael Jackson
Holly Harrison - Dancer/Choreographer
Becky Holden - Dancer
Harriet Johnstone - Dancer
Laura Summers - Dancer
Band
Nic Southwood - MD / Bass
Doug Jenkinson - Drums
Lewis Wheeler - Guitar
Chris Davies - Keyboards
