For his West End debut, C.J. Borger played Goldie Wilson and Marvin Berry in BACK TO THE FUTURE The Musical at the Adelphi Theatre, joining the show in 2024 until the musical closed earlier this year, and C.J. was nominated for Best Supporting Male Actor in a Musical at the 2025 Black British Theatre Awards. In October last year, C.J. played Orlando in Ghost in Concert, which starred Lucie Jones and Oliver Tompsett as Molly and Sam, at the Adelphi Theatre, and he was previously a vocalist for Kristin Chenoweth: An Evening with Friends in Honor of Todd Haines at the Stephen Sondheim Theatre on Broadway. As a child actor, C.J. played Henry in the 2009/10 Broadway revival of Finian’s Rainbow at St. James’ Theatre, and he played Young Simba in The Lion King on Broadway and the International Tour. On screen, C.J. played Young Malcolm (Tim Meadows) in the 2010 comedy film Grown Ups, and he was the singing voice of Gaby in the children’s animated series Bubble Guppies. C.J. answered our questions about making his West End debut as Goldie Wilson and Marvin in BACK TO THE FUTURE The Musical at the Adelphi Theatre, being part of Ghost in Concert and Kristin Chenoweth: An Evening with Friends in Honor of Todd Haines and performing as a child actor in Finian’s Rainbow and as Young Simba in The Lion King.
How was it making your West End debut in BACK TO THE FUTURE The Musical at the Adelphi Theatre, and how different did you find performing in London opposed to in America?
It was one of those full-circle, pinch-me moments. I grew up working in theatre in America, and one of the jobs I did as a young performer was Disney’s The Lion King (International Tour, Taiwan). One of the other boys who played Young Simba was from England and thus began my adoration for the country. Fast-forward to making my West End debut at the Adelphi in such a huge, joyful show. It felt really special. American audiences can be very vocal, reactive and immediate, while London audiences have this gorgeous way of a more relaxed, observant/respectful approach. However, this is just as rewarding as it means they truly mean it, and when they cheer, it hits you right in the chest.
How much did you know about the musical and film before booking your role in 2024, and how was it seeing the audience response to the stage adaptation?
Back to the Future happens to be one of my father’s favourite movies, so I have seen the film a fair few times. I knew enough to know it was iconic and ahead of its time, but I don’t think you can fully GRASP the Back to the Future fandom/lore until you are standing on stage watching grown adults lose their minds over a car. The Dreamers (what the fans referred to themselves as) are some of the most dedicated and nicest fans. The audience response was wild in the best way. It was nostalgia, spectacle, comedy, heart, and a lot of people suddenly loving their inner child/teen years for two and a half hours.
What was it like taking on the roles of Goldie Wilson and Marvin Berry and what did you enjoy about each character?
I absolutely loved getting to play two strong black characters who bring such different energies to the show. Goldie has this huge sense of optimism and ambition, and has a story that feels quite liberating being able to tell. It’s that timeless tale of the underdog being able to rise above the things people say you can’t do. He’s someone who believes he is meant for more, and that is really beautiful to step into every night.
Now, my guy Marvin is a different kind of joy. In rehearsals in year one, John Rando (the director) asked me to do some research on a black artist that I wanted to take parts to embody. I chose little Richard and much like Little Richard, Marvin is musical, frantic, funny, and part of one of the most iconic moments in the story. I was able to really play here and have fun dancing to iconic songs like The Power of Love in this part of the show.
You were nominated for Best Supporting Male Actor in a Musical at the 2025 Black British Theatre Awards, how did you feel receiving the nomination and what was the ceremony like to attend?
I was genuinely so moved, and often find myself still trying to put it into words. Probably because awards and validation are never the reason you do the work, but when the work is seen and recognised – especially by a community (my community) that understands the importance of representation – it hits differently. The ceremony was stunning, and I had one of those nights where I kept thinking if only little CJ, talking to the young English Simba back in Taiwan, could glimpse into where we are now. It was a moment that I will never forget.
How did you find the experience being part of BACK TO THE FUTURE The Musical and working with the rest of the cast?
It was a really special company to be part of. A show like BACK TO THE FUTURE takes so much energy, precision and trust, and the cast had to operate like a machine while still keeping it playful and alive. And this doesn’t just start and end with the cast. The beauty of theatre is the community aspect of it all. From our amazing company manager, Sara Lee, who constantly tries to keep the building in good standing and energy, to the wham (wigs, hair & makeup) and wardrobe team, I felt very lucky to work with people who were not only talented, but generous, funny, and genuinely supportive. My track had a nice little break before I went back on stage, and so I got to spend time with lots of different people who made up Hill Valley.
What was it like performing with the musical on its closing night at the Adelphi Theatre, and what do you think you will miss most about playing Goldie Wilson and Marvin Berry?
Closing night was emotional and electric. It began hours before the show started, with the fans coming and crowding around stage door where they sang songs outside of our dressing rooms. It was warmth from start to finish. Bob Gale, the creator of the franchise, was there and gave a beautiful speech. There is something very powerful about feeling an audience understand that they are watching the end of a chapter, and everyone on stage was carrying so much gratitude.
I will miss the joy of those characters mostly Goldie’s optimism, Marvin’s chaos, and the feeling of helping lift the room every night. I will forever love telling the story of a young black man going for what he needs. There is never enough of these types of stories to be told.
In October 2024, you could be seen as Orlando in Ghost in Concert (which starred Lucie Jones and Oliver Tompsett as Molly and Sam), also at the Adelphi Theatre; what was the concert like to perform in?
It was gorgeous, and slightly terrifying in the way one-night-only concerts can be. A bit like “you blink and it is over”, so you have to bring your whole self immediately, which was hard as I was in tech for BACK TO THE FUTURE and getting into that new routine of being in the theatre. But it was a challenge I loved. I mean, that score is so emotional, and being in the room with Lucie and Oliver leading it was really special. I also loved being at the Adelphi and thinking, “Okay girl, we live here now apparently”.
How was it being a vocalist for Kristin Chenoweth: An Evening with Friends in Honor of Todd Haines at the Stephen Sondheim Theatre on Broadway?
It was an incredible honour. Kristin Chenoweth is one of those performers whose precision, humour, and generosity are on another level, so being part of an evening connected to her and honouring Todd Haimes felt very meaningful. It was also special to be back in a Broadway space and feel that particular New York theatre energy again. It was also directed by Warren Carlyle, who directed me in Finian’s Rainbow way back when, so it was nice to be in a room with someone I respect.
Having also performed on cruise ships, can you tell us about your time involved with these productions?
NEVER UNDERESTIMATE a cruise ship performer! Cruise ships were a huge training ground for me. You learn stamina, versatility and professionalism very quickly because you are performing regularly, living with your company, and adapting to a completely different environment. It also taught me how to connect with both people/audiences from all over the world, which is something I still carry into my work now. Cruise ships teach you a lot, mainly that the show must go on. It made me a stronger, more adaptable performer because you are singing, dancing, travelling and living the job all at once. It is intense, but it builds real stamina and a real sense of company.
As a child actor, you played Henry in Finian’s Rainbow at St. James Theatre, what was it like working on the 2009/10 Broadway revival of the show?
It was an amazing experience, especially at that age. Being part of a Broadway revival so young gave me a real education in discipline, rehearsal rooms, and what it takes to tell a story eight times a week. I did not fully understand the scale of it then, but looking back I realise how lucky I was to be surrounded by that level of artistry so early. I mean, I was sharing the stage with people that I still to this day idolise the careers they have created – Kate Baldwin, Cheyenne Jackson and Joe Aaron Reid.
What are some of your favourite memories from starring as Young Simba in The Lion King on Broadway and the International Tour?
There is nothing like being a kid in The Lion King and realising people are coming from all over the world to see this story. The music, the costumes, the scale of it – IT’S PURE THEATRE MAGIC. My favourite memories are honestly a mix of standing backstage feeling the show begin, travelling with the production, and learning very quickly that eight shows a week is not for the weak. My family also sacrificed so much for me during these early stages of my career. Whether it was Mom travelling around with me or Dad having to do double pick-ups for my little sister. It taught me about how important family (both chosen and blood) is when trying to handle the world of being a creative.
What was it like on set of the 2010 film Grown Ups, in which you played Young Malcolm (Tim Meadows)?
This was wild in the best way. I mean, Adam Sandler, Chris Rock, Maya Rudolph… being on set with these incredibly funny people, and then also learning that film is a lot of waiting, resetting, and pretending everything is normal when it absolutely is not. Coming from theatre, I was spoilt in the idea of you don’t have the opportunity to “fix” things when they go array. It was a different kind of rush playing Young Malcolm. It was really fun, and it gave me an early taste of how different screen work feels from being on stage.
You were the singing voice for Gaby in the animated series Bubble Guppies, how was it being in the recording studio for this project?
Recording for animation was a completely different skill, and I really enjoyed it. In a studio, you don’t have costumes, lights or an audience, so everything has to come through the voice and imagination. It was playful, detailed, and a great lesson in how much character you can create just through sound. Also, let’s be real, working for a company like Nick Jr. was great. They used to send me the best Christmas gifts when I was a kid, and I got to be invited to concerts and perform as a part of Nickelodeon’s team.
How did you get into performing and was it always something you wanted to do professionally?
It definitely originated from me being a little pocket rocket, and my mother and father needing to put me into something to allow all of my big personality to find a way to exert the energy I had. So, they put me in a local performing arts school when I was eight. I think performing was always the place where I felt most myself. I started young, and once I experienced being in a rehearsal room and telling stories through music and character, it made sense to me in a way nothing else really did. I have grown and changed as a person and artist, but that feeling of connection is still why I do it.
Do you have any favourite theatre shows to watch, and are there any you’d like to see that you haven’t as yet?
My favourites change all the time, but I love theatre that feels bold, emotional, and alive. I will always have a deep love for RENT and The Lion King. RENT because it was the first time (and I was probably too young to see it, but I was a theatre kid, so what is too young?) I saw queer characters and it’s just such a story that is forever important for a wider community. And then The Lion king because of my own history with it. I am drawn to shows that mix spectacle with real heart. I am always trying to see more new work too, especially pieces that feel fresh, queer, surprising, or a little bit dangerous.
Have you been given any advice over your acting career so far that has stuck with you?
One piece of advice that has always stayed with me is that talent is important, but how you treat people matters just as much. Theatre is collaborative, and people remember whether you bring generosity, focus and kindness into the room. I try to carry that with me, especially on long contracts where your attitude becomes part of the work. No one wants to be remembered as the bitter Betty in the cast who lets tiredness and exhaustion get in the way of forgetting how damn amazing it is to do what you love as your career.
How do you like to spend your free time?
I love spending time with friends, going to the gym, finding good food, and trying to switch my brain off when I can. I have ADHD, so being able to take time for me to fill my cup is important to be able to give myself to any creative project. Because performing is so full-on, I really value the moments where I can just be normal, laugh, move my body, and recharge. I also love a good TV binge, like everything else in life… balance is important.
What are you hoping this year brings you, and do you have any projects coming up that you can tell us about?
This year, I am hoping for growth, stability, and more opportunities to keep building my career in the UK. BACK TO THE FUTURE was such a meaningful chapter, and I feel ready for the next one! Whatever shape it takes. There are things I am excited about, and I am looking forward to sharing when I am able to. That said, my next role is going to be very different from both Goldie and Marvin! Funny enough still going to allow me to live in a world of spectacle and authenticity. I love what I do so much, and the beginning of any project is so exciting being able to create.
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