One of the most popular musicals in recent years returns to the West End for one month only, before continuing its tour across the country. Guillermo Nazara shares his views on the show, to let us know if this work of art was truly over the top.
Once upon a time, there were a boy who did everything ten times faster and times louder than everyone else. And he was fearless – and terrified. It’s the same story all over again. The gay community knows it too well. As children, we try to express ourselves. We’re told that’s not okay – that we should try to be just like the rest for our own sake (the art of manipulation is, by no means, subtle). But you can’t be like something you’re not – unless, of course, you accept a life of misery. We follow our journey no matter what. We find our place and our people in a world that, at the beginning, was only dark and grey. And we replace it with every shade that glitters within ourselves, and blend it with the colours of those who, instead of judging us, allows us to be and take pride in it.
The cultural phenomenon that Everybody’s Talking About Jamie has become over the years is striking, but not surprising whatsoever. It was such a necessary piece back then and it still is now. Things have improved since those days where saying the word ‘gay’ was a trigger for either mockery or panic (the state of Florida may be the exception, though). But sadly the bullying and misunderstanding towards LGBT+ people continues in a time where radicalized views are showing no hints of shyness. The most astounding thing about this musical is that, much like the group that inspired it and it’s managed to inspire back too, it chooses to bring joy, love and a sense of unity as its defense towards hatred.
Created by John MacRae (book and lyrics) and Dan Gillespie Sells (music), Jamie is a tale of resilience, of standing up for what one is and leaving no stone unturned until that dream is no longer just that – a lesson to be taught to and learned by everyone. Based on the real-life journey of Jamie Campbell (the young teenager from a small town that, almost overnight, became an international icon through the documentary Jamie – Drag Queen At 16), the plot revolves around a senior high school student from Sheffield who, unlike most of his peers, knows very well what he wants. He’s bound for the stars. But on his way, there’s a few ceilings he’ll have to crack.
Deep, insightful and full of remarkably catchy and beautifully crafted tunes, the writing is one of the strongest components in what unfolds as a intricately polished product. Everything a good musical needs to work and succeed is there: it has the songs, it has the spectacle, but it also has the message and the introspection. It’s profound and uplifting. It’s honest and grounded. It touches the heart and prompts a few laughs. And it makes us leave the theatre with that electrifying sensation of hope, encouragement and empowerment. And that no matter what may come our way, we are understood.
For those who have seen it in the West End, if you meet yourself again going to this show, you may not be disappointed. The touring version has kept all of the elements of its production. Same visuals, same concept – the small details that allow it to move from venue to venue more rapidly are essentially irrelevant. But there’s a flaw to point out within this flashy neon of rainbow glitz – and that comes from how safe the performances sometimes feel. Though, overall, technically impeccable (with the dancing numbers being one of the highest points of the renditions), the portrayals themselves often look a bit too choreographed – diluting some of the excitement of what should have been a more spontaneous approach. And despite all of them moving in perfect sync, its excessively secure vibe makes them appear slightly mechanical.
Such an issue (easily correctable, nonetheless) does not prevent the cast from being praised – many of them boasting charm and, in general, quite competent vocals. Among them, John Partridge gives an infectious performance through his sassy, charismatic (and slightly salacious) depiction of Hugo (aka Loco Chanelle), making the role of his own while keeping the character’s soul. In addition, Ivano Turco plays an enchanting Jamie, mildly more secure than other versions we’ve seen before, and excelling through his energetic physical delivery. However, the biggest mention goes to Rebecca McKinnis as Margaret New, giving an ovation-worthy interpretation of the struggling, good-hearted mother whose only goal is to see her son happy as who he is.
So there’s our story. But what’s the lesson? Well, I think we already know. Regardless of our past, we still have a future to weave for ourselves. The tale of the small-town boy who leaves his pain behind and starts a new life to find the respect and acceptance he was never given resonates with so many of us. And that’s motto we should carry on with ourselves forever. Look forward and never back. Everyone who hurt you will fade away. And it will be your own shine that will light you all along the way. Jamie is nothing but a middle finger to bigotry and rejection – unfortunately, the standards that too many ones had to face. The bright side is that the show, as anything LGBT, kicks all those off the cliff and into obscurity. Because it’s lively, compelling and, above all, a lot of fun. It’s such a blast! And you don’t even know it!
All pictures credit to Matt Crockett.
Everybody’s Talking About Jamie plays at London’s Peacock Theatre until 23 March before continuing its tour across the UK. Tickets and venue information are available on the following link.