Review: Nine Sixteenths (Pleasance Theatre)

Review by Daz Gale

⭐️⭐️

How long does it take to destroy a career and ruin the legacy of a living legend? Nine-sixteenths of a second in Janet Jackson’s case in regards to the infamous 2004 Superbowl performance known to many as “Nipplegate”. Now, a new show, fittingly titled Nine Sixteenths attempts to examine just what happened in the run up to that in a love letter to not just Janet Jackson but all she represents for Black women everywhere, but would this show prove to be a Scream or make me want to runaway?

On the surface, Nine Sixteenths doesn’t feel like the deepest of subjects. However, it attempts to delve beneath the surface to understand what caused the huge backlash Janet faced after the Superbowl performance and draw comparisons to wider issues in not just a particular industry but the world in general, namely how white men can create the narrative and the power they hold in controlling and sabotaging the lives and careers of Black women.

Writer and lead performer Paula Varjack has a lot to play with. Using Janet Jackson as a jumping off point, moving elsewhere as she recounts her life and the years she forgot about her former idol, Ms Jackson is never far from the story as she comes back in differing ways. The difficulty here is there is too much jumping around the story and a clear narrative struggles to reveal itself. The result is a disjointed show full of potential but not quite able to realise any of it just yet.

Not a straight play, Nine Sixteenths fuses multimedia elements including dance sequences, verbatim dialogue, recordings and some surprising lipsyncs. Refreshingly bold in its approach, you never know what is coming next. However, not every element is successful with lipsyncs feeling overlong and an extended exploration into Paula’s changing tastes in music outstaying its welcome. Inexplicably, the show also gives too much time to David Letterman of all people – though it does prove to be one of the more interesting aspects of the show, it does slow the narrative down significantly and kills momentum. This is a common problem with the show being plagued with pacing problems, with awkward pauses and timing issues prevalent throughout. I got the sense it is still in need of some fine tuning to get to the best possible version of itself.

As a performer, Varjack is a fantastic force, always captivating with a charismatic nature full of life and a way of connecting with the audience that feels deeply personal. I could have listened to her tell stories all night long, so it was frustrating how much she sidelined herself. Her three co-stars, all of whom introduced their personal connection to Paula and proudly ensure the cast consists solely of Black women over the age of 40 representing a little seen area in the industry, were great in their own right but the lack of connection to the material showed a great divide between them and Paula, with her ability to light up the stage underused.

The writing manages to surprise in the areas it goes to. While blaming it all on Justin Timberlake seems like the obvious response, instead, Paula proclaims her love for his debut album (the new one, not so much) and ponders the other people in question for the sabotage for what could have been a harmless accident. Other areas of the show don’t fare as well – though there are some funny lines, some of the humour feels lazy with low-hanging-fruit used to elicit laughs. An interesting comparison to the social media response Francesca Amewudah-Rivers received this year after being cast in Romeo & Juliet further highlights the potential in the writing and what it could achieve if it is given room to grow. Bringing the story up to recent events, Paula discusses Janet’s controversial interview in recent months and admits that even idols aren’t perfect. A real problem the show has though is that it doesn’t seem to know how or when to end with multiple endings playing one after another in a final sequence that could benefit from more of a clear direction and some trimming.

The issues Nine Sixteenths highlights are incredibly important, and conversations that still need to be had, especially given very recent events in the world. Because of that, it feels as if Feedback doesn’t really matter as it is still conveying a crucial message and one that hopefully will inspire others. There is no doubting Paula Varjack’s talents, particularly as a passionate and charismatic performer who shines on stage, highlighting the huge potential this show has. Unfortunately, it doesn’t quite land the punches topics of this magnitude should and falls short on several levels, never quite knowing what it is, exactly what it wants to say or how it is is going to get that message across.

I wouldn’t want to detract from the good intentions clear to see in this show and hope to see it progress in the months and years to come. Though it might be a bit (Velvet) rope(y) in places in its current form, with the right amount of Control, I have no doubt Nine Sixteenths can shine again.

Nine Sixteenths plays at The Pleasance Theatre until 15th November. Tickets from www.pleasance.co.uk/event-nine-sixteenths