Kenny Ortega on Michael Jackson's final days


Shortly after this picture was taken at rehearsals for the hugely anticipated O2 shows, Michael Jackson was dead. One man was beside him through those last weeks and months: his friend, mentor and choreographer Kenny Ortega. In his first major interview since that June afternoon, he tells the story of the Jackson he knew, the mood of his final days and hours, and why he has decided to bring the King of Pop’s ghost back to life


Ortega, clad in an unshowy suit jacket and polo shirt, the uniform of the working director, is an animated character who chats at nineteen to the dozen. When talking about Jackson’s talents he rattles out superlatives; only occasionally, when pressed, will he concede that all might not have been well with his old friend. A diehard fan, he certainly won’t tolerate any suggestion of Jackson’s darker side. In death, Jackson has polarised opinion even further: those who see a car-crash life, a horrific, Grand Guignol pantomime, and those who see a messiah-like figure who could do no wrong – an image Jackson appeared happy to reinforce in his Earth Song video. Ortega claims that he saw only good – a man who took time to visit the world’s orphanages while on tour could only have pure and saintly motives, right? And Ortega was one of the few who had a ringside view of the Jackson circus.
Jackson was 50 years old and saddled with a history of medical issues. He had rebuilt his appearance, allegedly to look more like his childhood heroine, Diana Ross. His skin – on his face at least – was now white. His hair had never fully recovered from the 1984 incident when it caught fire while filming a Pepsi commercial. After his 1993 Dangerous tour, he reportedly entered rehab for addiction to painkillers and sedatives. He was plagued by back pain. During his 2005 trial on several counts of child molestation, intoxication and conspiracy to commit child abduction, he often appeared dazed – on one occasion he appeared in court in his pyjama bottoms.
His mental health was further questioned because of his treatment of his children: he dangled his baby, Blanket, from a hotel balcony and sent his two elder children – Prince Michael and Paris – out on public appearances with veils over their faces. All three were white, leading to inevitable speculation about whether he was their biological father.
So wasn’t this battered, rake-thin man too frail to mount a comeback? Ortega is having none of it. “No! Look at photographs of Fred Astaire at the height of his career. They’re the spitting image.”
On the day he died, the entertainer was due to begin rehearsing Dirty Diana, the fifth single from 1987’s 30 million-selling Bad album. Ortega had been putting Jackson through his paces since the singer’s appearance at a press conference in London in March to announce This Is It: a run of concerts, first 10 shows, then 50 over 8 months, at the capital’s 23,000-capacity O2 arena. Fans from all over the world applied for tickets at, some reports said, a rate of 16,000 per second; they sold out in a matter of hours. According to the chief executive of concert promoter AEG Live, Randy Phillips, the first 10 shows alone would earn Jackson $50m (£35 million) – a much-needed fiscal shot in the arm for a man who had frittered away millions on, among other things, the upkeep of his Neverland ranch, the fees of a phalanx of lawyers and paying off his adolescent accusers.
Now, ahead of This Is It’s scheduled opening night on July 13, Jackson, Ortega and their team were on the last lap of rehearsals in the Staples Center in LA.
But Jackson’s comeback was not to be. That summer afternoon four months ago, Ortega remembers, “We were getting a lot of rumour calls, and my phone was just ringing constantly… I was waiting for one of the folks from our team who was at the hospital to call and let us know what was really happening. Of course, what I wanted to believe was that this was another of those days in the life of Michael where rumour and exaggeration take over.”
Inside the Staples Center, Ortega gathered his team around: musical director, vocal coach, dance coach, production designer, lighting designer, musicians, dancers, technicians – “Michael’s [other] family”. They joined hands in a circle, “and we did pray for him, and pray for him to return to us in a strong state of health, so that we could continue [to move] our dream forward. It was a few minutes later when I received the call from one of our team of producers that said we had lost Michael.”


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