Overheard in the artificially engineered
throng to get into this Michael Jackson tribute show: “It’s like
Obama’s inauguration!” – “Yeah, except Obama’s black.” I’m not a great
fan of compilation musicals, but I can see the attraction if a show has
an original narrative… or a biographical one, or frankly
any narrative.
Thriller – Live doesn’t. It has a
handful of spoken links, hagiologising Jackson as “truly the undisputed
king of rock, pop and soul” (well, by the same metric that makes
McDonald’s the undisputed kings of cuisine, yes), but the rest is just
a succession of musical numbers in chronological order from the early
days of the Jackson 5. It cheats, of course, avoiding a massive
anticlimax by offering only two songs from
Dangerous, none from
Invincible and holding back the
biggest of the biggies from the
Thriller
and
Bad albums for
pseudo-encores.
So it’s a series of impersonations of Jackson? Er, no. The performers
are costumed, but since the pool of lead vocalists includes Denise
Pearson (formerly of clean-cut 1980s family soul-pop combo 5 Star) in a
spangly dress and the noticeably white Ben Foster, then (vitiligo gags
aside) it’s fair to say that verisimilitude isn’t crucial in that
respect at least. However, John Maher’s band are adept at reproducing
the recorded sound, and the vocalists’ phrasing is usually faithful to
every little gasp and tic that was once spontaneous. The staging of
each number is close enough to the video that you start replaying it in
your head, but not quite close enough to generate a storm of plagiarism
suits. And it’s all desperately unexciting. Even in a partisan
opening-night crowd, I never counted more than four or five heads
nodding along to the music among the 350-400 I could see.
Don’t blame it on the sunshine, the moonlight, the good times nor even
on the boogie: blame it on Adrian Grant, a professional Jackson
idolater who is responsible for “original concept” and is co-producer
and “executive director” of this production, as well as writing all
four programme essays. Seguéing from a video montage of
Jackson’s changing face into one of Geldof, Bono and then Mandela and
(yes) Obama is simply obscene in the extravagance of its implicit
claims. During the rendition of “Earth Song”, I remembered the
notoriously sabotaged rendition at the 1996 Brit Awards and realised:
what this show really needs is Jarvis Cocker’s irreverently waggling
arse.
[Footnote: OK, the Obama punchline was actually mine.]
Written for the Financial
Times.