New play adapts Dicken's novel to explore empire’s impact on India
Pooja Ghai, Tamasha Theatre's artistic director, will helm a fresh adaptation of playwright Tanika Gupta MBE's 2011 take on Great Expectations
By Pooja Shrivastava Aug 25, 2023
CHARLES DICKEN’S classic work, Great Expectations, has been adapted to an Asian setting in a new production to be staged next month at the Royal Exchange Theatre in Manchester.
Pooja Ghai, Tamasha Theatre’s artistic director, will helm a fresh adaptation of playwright Tanika Gupta MBE’s 2011 take on the 19th century, rags-to-riches London-set story, which moves to the British Raj, just ahead of the partition of Bengal.
Speaking to Eastern Eye, Ghai described how the new play will be different from the previous adaptation in its attempt to explore the influence and impact of the British empire on India.
“Dickens wrote this in the late 1800s, and even though he was talking about British society, the way it was behaving was influenced by this imperial system growing around the world,” Ghai said.
The Great Expectations cast and crew
A decade ago, Gupta had set the play in colonial Calcutta (now Kolkata), but according to Ghai, that version “wasn’t as brave as this adaptation”.
She said, “We realised that 10 years on, there was so much more to do with this adaptation. And when Tanika read it again, she felt the need to revisit it and put more of her voice in there.
“It (2011 original adaptation) wasn’t as nuanced and definitive. I think it is a reflection of the times we are now in as a society, which is more open to these nuanced conversations.”
The play lays significant emphasis on how farmers in India were forced to grow opium for British traders, the resources that were taken out of the country and the manner in which such practices depleted India’s economy, Ghai, 48, said.
“It is really shocking that we don’t know these stories. We tiptoe around the dark side of empire, but we celebrate the glory. It’s very easy for us to talk about how great it was and the kind of civilization that was brought to the world. But when it comes to the darker side of our colonial history, it has taken a lot of time to unpick those layers and be brave enough to talk about the stuff that is difficult and challenging.”
Great Expectations boasts a 12-strong cast led by Esh Alladi as Pipli, Catherine Russell playing Miss Havisham and Asif Khan (Jagu). One of the characters, Malik (Abel Magwitch in the original book), is from the African community that has been living in Gujarat for thousands of years.
“Within all of this are the subjects of colorism and identity. Even today, we have issues of colorism within our Indian diaspora. There is still some kind of hierarchy of black, white and brown – to put it crudely,” Ghai told Eastern Eye.
The play “touches on all of that”, she said. “I hope it opens all of these conversations. I think it’s important for us to understand this 400-year relationship between Britain and India, and what that means for both countries.”
Ghai added that people in Britain were an integrated yet diverse community and if they supported each other, there was potential for great friendship and greater things.
“But, before that, we really must understand this construct of imperialism and the drain that has happened to India. We don’t really talk about the amount that was taken from the country, so much that it was depleted to nothing.”
As a director, bringing Great Expectations to the stage feels like completing a full circle, said Ghai, who was a part of Gupta’s 2011 adaptation as an actress.
“It kind of completes a full circle. But in a way, it is a brand-new adaptation and I feel very blessed to have got the opportunity to direct it.”
Born in Kenya, Ghai fell in love with theatre at the age of 11 when she acted in her school’s Tom Sawyer play.
“I fell in love with the idea of storytelling and the power it held, both in the rehearsal process and for an audience. But my parents were never ok with me going into the arts. For them, it was a very difficult thing to understand.”
She later moved to England, went to university and set up a drama society where she was producing, directing and acting. “My professional acting career kind of kicked off, but around 2012-2013, I wasn’t satisfied as I wasn’t getting the kind of parts I wanted. I also strongly felt that our voices were under-represented and our stories were getting diluted with toxic stereotypes,” she said.
“For me, somebody who was Indian by heritage and east African by birth, I came from two different British colonies. I knew the impact, but I couldn’t see it in stories anywhere – our stories were being written by our white counterparts [and seen] through a white lens.
“That was when I thought I could not carry on being an actress if I couldn’t even have my own voice. So that is how I moved into directing.”
Great Expectations is the latest in a series of artistic collaborations between Gupta and Ghai which began with Lions And Tigers and most recently included The Empress.
Ghai said of Gupta, “We have got a long-standing collaborative relationship and a great friendship. I love her voice and the world she opens up, so for me, it always feels like a real gift to be able to get inside her stories.
“Tanika is one of the most prolific south Asian playwrights in this country, having a body of work of over 40 plays.” Ghai took over the role of Tamasha’s artistic director in late 2021 with an aim to create a home for a new generation of artists from around the world.
A scene from the play
“Tamasha Theatre is a company that has been around for 35 years, but somehow, we are still on the fringes.
“We have been on the same standard funding for the past 13 years. It’s impossible to grow,” she said.
“However, if we can find co-producing partners, where we can share knowledge and resources and grow our visibility, then we can reach more people.”
Tamasha has launched a three-year programme in partnership with regional organisations to rebalance a “Eurocentric approach” to dramaturgy.
“Excellence in theatre is equated to a Eurocentric model of work. However, all plays aren’t necessarily a three-act play or a two-act play,” said Ghai.
“We will be working more on global storytelling, especially Indian and African forms and of different diasporas within that continent. This programme will allow writers to write stories with a global lens.
“As a leader, I can either stay in the narrative or I can try and find my way around it.”
Great Expectations is on at the Royal Exchange Theatre in Manchester from September 8 until October 7.
This summer, Niall Moorjani returns to the Edinburgh Festival Fringe with Kanpur: 1857, an explosive new play that fuses biting satire, history and heartfelt storytelling. Written, co-directed and performed by Moorjani, alongside fellow actor and collaborator Jonathan Oldfield, the show dives into the bloody uprising against British colonial rule in 1857 India, focusing on the brutal events in Kanpur.
At its centre is an Indian rebel, played by Moorjani, strapped to a cannon and forced to recount a version of events under the watchful eye of a British officer.
Known for work that intertwines mythology, identity and activism, Moorjani is a neurodiverse, Scottish-Indian theatre-maker based in Edinburgh and founder of Suitcase Storytelling Company. Together with Oldfield, they present a unique show with live music that carries emotional weight and contemporary relevance.
Eastern Eye caught up with Moorjani to talk about the power of theatre, creativity, history and their compelling new production, Kanpur: 1857.
What first connected you to creativity?
I have always just loved stories. It was a classic case of wanting to be a writer when I was small. My mum is a really creative human and wrote (though sadly never published) a fantasy book when I was a teenager, which I thought was the coolest thing. Then I discovered I loved acting and became obsessed with stand-up DVDs by Eddie Izzard and Dylan Moran. Those things inspired me so much. But at its core, I think it is a combination of a love for stories and my mum being so supportive and nurturing.
What inspired your play Kanpur: 1857?
The events of the play were the main inspiration. In 1857, hundreds of thousands of Indians in the north rose up to overthrow the British. Hindus and Muslims were united in the cause. Ultimately, they failed, and the British response was incredibly severe. It is a period of history I have always found fascinating, especially the way the British were horrified to receive the kind of violence they had been inflicting for decades. The play was also inspired by events in Gaza.
Tell us about that.
I found the parallels impossible to ignore – a violent (and morally complex) act of resistance against colonialism being met with vast collective punishment. The play is about 1857, but I am highly aware people will think of Gaza while watching it, and I want that.
Tell us about the play.
It is an explosive, satirical take on the Indian uprising of 1857, focusing specifically on the events in Kanpur. I play an Indian rebel who is strapped to a cannon and forced to tell their version of events by a British officer, played by Jonathan Oldfield. There is a trans love story, romance, jokes, drama, betrayal and devastating storytelling. All of this is set to live music by tabla master Sodhi. We have been super lucky to win the Charlie Hartill (global majority) award with Pleasance and cannot wait for people to see it.
Is there a key message you want to convey with the show?
That what the British did in India is still happening around the world today. Colonialism and colonial oppression did not end in 1857, nor in 1947 with Indian independence. These histories speak directly to our present, and we must learn from them.
Did you learn anything new while putting this play together?
Just how complex and messy the events at Kanpur were. And while I was not shocked, it is always fascinating to see how our sources from that time mostly come from the British – in this case, the victor masquerading as the victim. I could speak all day about it, so you will have to come and see the play.
An explosive new play that fuses biting satire, history and heartfelt storytellingPleasance
What was the biggest challenge of writing, co-directing and acting in this play?
Trying to hold the historical detail in my head, while also making sure the piece worked as theatre, was really tough. Fortunately, Jonathan Oldfield was amazing at helping us check in constantly on clarity without compromising on historical rigour. I expected the creative process to be harder, but it was surprisingly organic. Strangely, we often got stuck on small details – like how period-accurate the British officer’s coat should be, or what the opening projector slides should say. Naturally, self-directing is difficult, but co-directing with Jonathan really helped. As did the whole team.
What is your own favourite moment in the play? I love the big laughs. It is a tough subject, but I am really pleased with how much comedy there is. Those moments bring levity, nuance and hopefully help the heavier parts land more powerfully.
How do you feel being part of this year’s Edinburgh Fringe?
Great. I feel so lucky that we won the Charlie Hartill award. I have done the Fringe so many times on a shoestring, and this has really been a game changer. I feel privileged. The Fringe has its problems, but I absolutely love it, and in real terms, I owe my creative career to it. I love that I have been going for so long. I have a little community I only see during the festival – it is a privilege to be part of that, alongside so many amazing artists.
Why do you love theatre as a medium?
It can and should be anything. It invites us to sit down for a few hours, and then rewards us with something that can be genuinely life-changing. I especially love Fringe theatre – bonkers ideas pulled off in just an hour on tiny budgets by small, immensely talented teams. That is inspiring and exciting.
Why should we all come and watch your play at the Edinburgh Fringe?
Rebellion, cannons, trans love stories and genuinely great satire of the British empire – why should you not?
Kanpur: 1857 is running throughout the Edinburgh Fringe at 15:40, July 30 to August 24, 2025, at Pleasance Courtyard (Beneath). Tickets: www.pleasance.co.uk
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Scottish-Pakistani theatre-maker Lubna Kerr returns to the Edinburgh Fringe with 'Lunchbox'
Acclaimed Scottish-Pakistani theatre-maker Lubna Kerr returns to the Edinburgh Fringe with Lunchbox – the final instalment of her deeply personal and widely praised ‘BOX’ trilogy, following Tickbox and Chatterbox.
Inspired by her own upbringing as a Pakistani immigrant girl in Glasgow, Lunchbox is a powerful one-woman show that tackles themes of identity, race, bullying and belonging through the eyes of two teenagers growing up on the same street but living vastly different lives. With humour, honesty and heart, Kerr brings multiple characters to life, including her younger self and a troubled classmate, as she explores whether we are shaped by our environment or capable of breaking the cycle.
Ahead of the show’s run at this year’s Edinburgh Fringe, she speaks to Eastern Eye about her creative journey, the inspiration behind the trilogy and why she believes now is the time to share these stories.
Lunchbox is a powerful one-woman show that tackles themes of identity, race, bullying and belongingInstagram/ lubnakerr
How do you reflect on your creative journey?
When I started writing my first play Tickbox, I doubted myself – would anyone come to see it? But it has since been staged all over the UK and is still touring. I have come so far in my creative journey and love being able to find new stories to tell the world.
How much are you looking forward to returning to the Edinburgh Fringe? I love the Fringe. It is my favourite part of the year.
Tell us about your new show. Lunchbox is a one-woman show and is the final part of the ‘BOX’ trilogy of my life as a Pakistani immigrant girl growing up in Glasgow. There are eight characters – some familiar and some new.
How does this compare to your other shows Tickbox and Chatterbox?
It is similar but different. It explores the next stage of my school life, but this time through the eyes of the bully, Steven.
How have you felt going on a journey with this unique trilogy?
It was never meant to be a trilogy when I first started writing, but as the stories came out, I realised I had so much to share that I could not do it all in one play.
What is the biggest challenge of doing a solo show?
Keeping well and pacing your energy. There is no understudy, so I need to make sure I get enough rest and can be fresh for my shows every day.
She says, ''do not assume you know what is going on in people’s lives behind closed doors''Instagram/ lubnakerr
Who are you hoping to reach with this show?
Those who were bullied, those who stood by and did nothing, and those who were the bullies.
Is there a key message you want to convey with this show?
Do not assume you know what is going on in people’s lives behind closed doors. I want audiences to think about who they wrote off in life. Who could they have given a hand to? Whose life did they assume was a waste? Who will they be clapping for? Have they forgiven their bully?
What do you most love about live theatre?
I love performing and sharing unheard or untold stories about the diaspora. We have such a rich culture and heritage, and we need our voices to be heard. Theatre is the vehicle to do this.
How do you feel when you are on stage?
I love being on stage, whether performing a play or doing comedy. I love feeling connected to the audience – having them hold onto my every word and fall into a trance with my characters, helping them forget their worries for an hour.
Why should we all come and watch your new show Lunchbox?
Lunchbox has a universal theme of bullying and discrimination, but it is told by an older south Asian woman. How many of us are out there doing this? I want to inspire anyone of any age to come and share their stories on stage, and let the world know that we are more than just curries and cricket (though I do love both).
A NEW play looks at the cultural divisions in society, especially in the West, and shows how people can still come together and build a community even if they don’t always agree, its playwright has said.
The Ministry of Lesbian Affairs, by Iman Qureshi, follows a group of women, mostly lesbians, who come together to sing in a choir, while sharing their lives, making new friendships, experiencing love, and finding humour during their time spent together. Themes of identity, politics and personal struggles are explored in the story.
“I hope everyone comes to watch it,” Qureshi, 38, told Eastern Eye.
“When I wrote this, I wanted to show how a minority community, like a group of lesbians, can represent a universal story that anyone can connect with. So, I hope the play reaches a broad audience. Of course, I’d love all the lesbians to come and see it, but I believe it has a much wider appeal. “
The play touches on issues that affect many people, especially women, today.”
First performed at Soho Theatre three years ago to a packed audience, the play has now been reworked for the Kiln Theatre by Qureshi and director Hannah Hauer-King.
The writer said, “It’s quite rare for a play to transfer, especially three years after its original run. We’ve worked hard to update it, so it feels fresh and relevant to 2025. During the initial performance, the audience laughed a lot, which actually surprised me. “
I kept telling the marketing team it was a drama, but they insisted it was a comedy. I didn’t realise it was that funny. During the performances, the actors had to pause because people were laughing so much. The response was very warm and joyful.”
Describing the changes for the Kiln production, Qureshi added, “The ending has changed a lot. We rewrote parts during rehearsals. At the Soho Theatre, the first half felt light and comedic, while the second half felt quite heavy. We wanted to bring more lightness and music into the second half, so it didn’t feel like we were switching genres. Now, the whole piece feels more unified in tone.”
Qureshi was born in Pakistan, grew up in Saudi Arabia, and moved to London at 16. She said her hope was that the word “lesbian” in the title will not stop south Asians from coming to see the play.
“I know the word ‘lesbian’ in the title might put off some in the Asian community, like aunties and uncles. But I really hope they come. My mum watched it the last time and loved it. Both my parents are coming this time. I hope others from south Asian backgrounds see that lesbians are human, too. There’s humour, love, and passion. I hope people are moved by it.”
The crew of The Ministry of Lesbian Affairs
Qureshi said the play reflects real issues faced by many Asian women and added that there is still “a lot of ignorance” in Britain about how hard it is to migrate. “People think you can just come here, get a job, a council house and benefits. But that’s not true,” she said.
According to her, the heart of the play is about listening. “We live in a world where it’s easy to avoid people who don’t think like us. Online, we only see what we agree with. But the theatre is different, you can’t switch it off. You have to sit and listen. You might not agree, but you can still understand and empathise,” she said.
Qureshi added that the play’s choir conductor has a line that sums up this message: “You sound best when we listen to each other.”
Another theme is about finding one’s voice, especially for those who have felt shame about who they are. “Many characters in the play have struggled with identity – gay shame, lesbian shame,” she said. “The choir gives them a safe space to be proud, to discover who they are, and to celebrate each other.”
Qureshi studied English literature, initially worked in journalism, law and the charity sector, and became a full-time playwright around six years ago. Her earlier play, The Funeral Director, won the Papatango Prize in 2018 and opened the door to more writing opportunities.
Reflecting on representation in British theatre, Qureshi said Asian stories are still underrepresented. “We struggle to get big names or access large stages. Often, when our stories are told, they’re negative – about terrorism or honour killings. That makes me angry. I wanted to prove I can write anything, not just ‘Asian’ topics.”
She believes Asian stories matter because they challenge racism and help people feel seen. “ G r o w i n g up, everyone I saw on TV was white. I remember wishing I was white. Today, I’m proud of my heritage, my skin, and my language. But young people shouldn’t have to feel like I did.”
Qureshi credits role models such as the National Theatre’s Indhu Rubasingham, and Asian playwrights Tanika Gupta and Anupama Chandrasekhar for paving the way for those like her.
The Ministry of Lesbian Affairs opened at Kiln Theatre on June 13 and will run until July 12.
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The 2005 film Sarkar explored power, loyalty, and justice in Mumbai’s underworld
There have been many Hindi cinema projects inspired by Hollywood films, and Sarkar ranks among the finest. The brooding political crime drama, which paid tribute to the epic 1972 gangster film The Godfather, became a gritty, homegrown tale of power, loyalty and justice.
Directed by Ram Gopal Varma and set in Mumbai’s morally murky corridors of influence, the film centred on Subhash Nagre – a man feared, respected and mythologised. Played with majestic restraint by Amitabh Bachchan, the story followed Nagre’s control over the underworld, political power centres and a grey zone where justice was delivered through unofficial means. His sons, the hot-headed Vishnu (Kay Kay Menon) and the more composed Shankar (Abhishek Bachchan) – became central to this tale of betrayal, legacy and redemption.
A still from Sarkar, inspired by 'The Godfather' and rooted in Indian politicsIndia Glitz
Released on July 1, 2005, it marked a turning point in Indian cinema, celebrated for its storytelling, atmospheric visuals and memorable performances. Eastern Eye marks its 20th anniversary with 20 fascinating facts about the film.
1. The main character, Subhash Nagre, was loosely inspired by real-life figures such as Indian politician Bal Thackeray.
2. Unlike most Bollywood remakes of international cinema, Ram Gopal Varma openly acknowledged that Sarkar was heavily inspired by The Godfather.
3. Varma had originally planned to make the same film in the early 1990s, with Sanjay Dutt and Naseeruddin Shah in the lead father and son roles. Dutt’s legal troubles led to the project being shelved.
4. Varma had initially signed Amitabh Bachchan for another film titled Ek, but he scrapped that script and instead focused on making Sarkar with him.
5. Interestingly, the first film Amitabh and Abhishek were supposed to appear in together was their home production Ranveer, co-starring Sanjay Dutt and directed by Rajkumar Santoshi. The project was shelved after its launch.
Sarkar became a landmark gangster film in Indian cinemaIndia Glitz
6. Although Bunty Aur Babli (released in May 2005) marked their first on-screen appearance together, Sarkar was the first project the father and son signed as co-stars. Both actors delivered powerful performances that reflected their on-screen synergy and off-screen bond.
7. The success of Bunty Aur Babli followed by Sarkar marked a major turning point in Abhishek Bachchan’s career. After struggling to establish himself since his 2000 debut Refugee, he went on to win multiple Best Supporting Actor awards and earned wide critical acclaim.
8. Varma was working on Naach simultaneously with Abhishek and declared that he was a better actor than Amitabh. Abhishek appreciated the compliment but responded that no one is better than his father.
9. As this was newcomer Katrina Kaif’s third film, she was still working on her Hindi language skills – resulting in all her dialogues being dubbed by a voice artist. She had earlier debuted with Amitabh in Boom (2003), but had no scenes with him in Sarkar.
The film introduced a uniquely Indian take on the mafia genreRotten Tomatoes
10. Supriya Pathak, who played Amitabh’s wife in the film, had previously acted with him only once – in Shahenshah (1988), where she portrayed a sister figure.
11. This remains the only Ram Gopal Varma film to feature Anupam Kher.
12 . Sarkar broke the Bollywood norm of including traditional song-and-dance numbers. Instead, music was used exclusively in the now-iconic background score, which enhanced the film’s realistic tone.
13 . The haunting ‘Govinda Govinda’ chant, integral to the film’s atmosphere, was originally composed for Varma’s 1994 Telugu film Govinda Govinda. (Amitabh Bachchan had initially questioned its relevance in Sarkar.)
14. Kay Kay Menon revealed that his role in Sarkar gave him confidence and wider recognition. He said, “It marked a turning point in my career, where I felt truly acknowledged for my work and could confidently present myself as an established actor.”
Set in Mumbai, Sarkar portrayed the dark world of parallel justiceRotten Tomatoes
15. The acclaimed film went on to spawn the sequels Sarkar Raj (2008) and Sarkar 3 (2017).
16. A 2014 Telugu remake titled Rowdy was made with veteran actor Mohan Babu and his real-life son Vishnu Manchu in the roles originally played by the Bachchans. Although it received positive reviews, it met with only moderate success.
17. The film is archived at the Academy of Motion Pictures Library.
18. Sarkar is referenced in Ed Glaser’s book How The World Remade Hollywood, which explores international remakes and reinterpretations of iconic American films.
Ram Gopal Varma’s Sarkar marked 20 years of influence and acclaimIMDb
19. Earlier this year, Amitabh revealed that he rewatched Sarkar for the first time since its 2005 premiere and wrote in his blog: “I was absolutely amazed at the quality of the film, its direction, and above all – this is not a father speaking – dazzled by Abhishek’s performance. What restraint, what close-ups, what eye expressions, what presence, what a performance!”
20 .Other Bollywood films loosely inspired by The Godfather include Dharmatma (1975), Aakhri Sanghursh (1986), Dayavan (1988), Zulm Ki Hukumat (1992), Aatank Hi Aatank (1995), Sapoot (1996) and The Power (2021). However, Sarkar arguably remains the most faithful – and finest – adaptation.
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It was part of a global promotional campaign for Jackson's HIStory: Past, Present and Future, Book I album
Ten giant Michael Jackson statues were built in 1995 to promote his HIStory album
The 32ft figures appeared around the world and followed him on tour
Some remain visible in places like Switzerland, Italy, and South Africa
Others have been removed or stored due to controversy after Jackson’s death and allegations
Owners now face challenges selling, relocating or preserving the monuments
A colossal promotion campaign
In June 1995, Londoners witnessed an unusual spectacle: a 32ft statue of Michael Jackson being floated down the River Thames. It was part of a global promotional campaign for Jackson's HIStory: Past, Present and Future, Book I album. A total of ten fibreglass statues were made, all modelled on the album cover image, and they accompanied the singer on his worldwide tour.
The statues were the product of a transatlantic effort. American sculptor Diana Walczak worked closely with Jackson to design a clay prototype. In the UK, artist Stephen Pyle oversaw the construction of the fibreglass versions, assisted by sculptor Derek Howarth and a team based at Elstree Studios. Built in just four months, the statues bore some differences from the original prototype due to limited access.
A statue above a Dutch McDonald's
One of the most well-known statues stood for years above a McDonald’s car park in Best, a village in the Netherlands. Restaurant owner Peter Van Gelder purchased the statue from Sony at a 1996 charity auction and installed it as a promotional feature.
The monument became a local landmark, drawing Jackson fans who visited regularly to celebrate the singer's birthday or commemorate his death. However, in 2019, following the release of the Leaving Neverland documentary which raised new allegations of child sexual abuse, McDonald's corporate headquarters in the US requested its removal. It now lies in storage, hidden under a tarp.
Van Gelder has considered donating it to a fan club, but due to its size, relocating it requires a building permit. “The interest in the statue is decreasing,” he notes.
From nightclub attraction to unsold collector’s item
In Austria, another statue stands in the courtyard of a closed nightclub west of Vienna. Franz Josef Zika, the former owner of The Baby'O, bought the statue at a radio charity auction in 1998 for around £9,300. Initially met with scepticism by family members, the statue eventually became a feature at the venue, placed in the smoking area and surrounded by bars.
The club closed in 2023 due to nearby residential development. Zika is now looking to sell the statue and has received interest from Sweden and Hungary but cites cost as a barrier. “Maybe I’ll send it to Mars. Elon will do this for me!” he jokes.
Fairground fixture in Switzerland
Another Jackson effigy resides with Luna Park, a long-running fairground event in Lausanne, Switzerland. Purchased in 2008 from a previous owner, the statue has been lightly refurbished, with gold accents added to its uniform. Although it has not been displayed in recent years, organisers confirmed it is not for sale.
Out of place in South Africa’s miniature world
Santarama Miniland in Johannesburg, once a popular educational park showcasing miniature replicas of South African landmarks, also hosts one of the Jackson statues. Despite the park being largely abandoned, the statue still stands, oddly juxtaposed against the park's "miniature" theme.
Blogger Heather Mason, who visited the park in 2013, described the scene as strange but memorable. “The MJ statue was the best photo op in the park,” she wrote.
Repainted and on sale in Italy
In Milan, Europark Idroscalo unveiled a freshly restored version of the Jackson statue in June 2019, just months after Leaving Neverland aired. A flash mob accompanied its reintroduction, and the statue was given new paint and sunglasses.
Park officials revealed the statue had previously been covered due to the allegations, and at one point modified to resemble a robot to distance it from Jackson's image. It is now up for sale once again.
Legacy in limbo
The statues were the product of a transatlantic effortGetty Iamges
While some of the statues remain visible in unlikely corners of the world, many have been removed or hidden due to shifting public sentiment. For others, storage, cost, and controversy have made preservation difficult. Thirty years after their creation, the towering monuments to Michael Jackson's legacy now stand as both relics of a global pop campaign and reminders of a career clouded by enduring debate.