A touching show about resilience, strength and power
Did you know that the infamous Super Bowl halftime show incident between Justin Timberlake and Janet Jackson was only on the TV for nine-sixteenths of a second? That is how long Jackson’s breast, exposed (without consent) by Timberlake ripping off the top of her bustier, appeared on screen. But this fraction of a second marred the next two decades of Jackson’s career, as Timberlake became ever more successful. This is the starting point for Brixton House’s new production by Paula Varjack and devised alongside Pauline Mayers, Julienne Doko, Chia Phoenix and Endy McKay. Nine Sixteenths combines the personal, the political and the pop culture, producing a thoughtful exploration of enduring the media as a Black woman, writes Melina Block.
A mix of nostalgic moments for the MTV generation, deep dives into the media industry’s nefarious figures and a reflection on the humans at the heart of it all define this show — this and Janet Jackson. While it is overall incredibly moving and vulnerable, there are moments which verge slightly on the self-indulgent side, interrupting the otherwise dynamic flow of the piece.
Nine Sixteenths is at its strongest when physical theatre and technology combine to portray right-wing media overlords’ insidious grip on society and culture. It is genuinely chilling at points, with the sharp ensemble connecting the dots between the defining moments of the new millennium which have ultimately landed us in times that, for the last five years or so, have been repeatedly referred to as unprecedented.
But at its heart, this is a touching show about resilience, strength and power — as well as a reminder to not blindly follow the whims of out-of-touch media and tech moguls — or afford them any more power than they already have.
Booking and full details: Brixton House, London, until 30 May
