Book and Lyrics by Tom MacRae

From an idea by Jonathan Butterell

Directed by Matt Ryan from original direction by Jonathan Butterell

Tickets from £13.00

Seven years since its debut, and we’re still talking about him. And after catching the newest incarnation of Everybody’s Talking About Jamie, you can hardly blame people.

Now a familiar and heart-warming tale, Tom Macrae’s book is based on the account of the real Jamie Campbell (changed to Jamie New for the musical), an ambitious and confident sixteen-year-old in Sheffield who begins to re-shape their narrative as they discover what a well-fitting pair of heels can offer. And while the rest of their class is looking forward to their cushy gigs as YouTube stars, rappers, or the partners of millionaires, Jamie aspires of a different nature. Looking to be a future Drag-superstar, Jamie has a panache for style, sass, and sharp comebacks, primarily aimed at their misguided and misogynistic classmates.   

Maligned by his father, encouraged by his mother, and with a passionate (and realistic) awakening thanks to a chance, meeting with ex-drag royalty Loco Chanelle, Jamie hits smalltown stardom. But with the attention and praise comes a burnout and sharp realisation that not everyone wants you to succeed. With music from Dan Gillespie Sells, and lyrics from Macrae, Everybody’s Talking About Jamie strikes a cord for those grappling with identity, and the burnout of those closest to us trying to support us however they can.

Fourth to rake the role of Jamie, Ivano Turco struts out in the blood-red dress with immediate stage-control. Adept vocally and highlighting Kate Prince’s terrifically sharp and energetic choreography, Turco elevates their performance by being one of the authentic performances which feels like a teenager, naïve, selfish, and excited, yet vicious in their outbursts. The moment Jamie loses their temper with their biggest supporter has all of us regretting those moments we took all that angst out on someone undeserving.

And Turco has plenty to work off with the supporting cast, Rebecca McKinnis delivering a rounded and vocally magnificent Margaret New, Jamie’s biggest champion who displays the genuine struggles of a parent who accepts their Childs identity nut occasionally grapples with the difficulties of keeping them safe. And while there are admirable vocals across the show, McKinnis’ ‘He’s My Boy’ is a standout of lyrics. Other close favourites come in ensemble numbers ‘Work of Art’, lead with just enough venom and vim by Sam Bailey as one-class-from-a-breakdown Miss Hedge.

With gender identity still a weaponised discussion for politicians and media-personalities, Everybody’s Talking About Jamie still finds a poignant relevancy, more so given the guttural lurch from opponents of gender fluidity and expression. With more nuanced moments of systemic misunderstandings and homophobia from classmate Dean, Jordan Ricketts carrying the machismo-bully with enough antagonism to make them a threat, but enough ignorance and energy to keep them from redemption. On the other end is Jamie’s closest friend Pritti, tormented for their skin colour and status as the school’s virgin. Humorous, and in total control of their scenes, Talia Palamathanan makes a perfect match for Turco’s forefront performance, without relinquishing themselves to the backgrounds of Anna Fleischle’s loud, colourful, and adaptive set design.

The secondary draw of the production for audiences often comes in the form of Jamie’s drag mentor, the mysterious and lavish Loco Chanelle, a retired Queen whiling away their days in a second-hand clothing boutique. Strictly’s Kevin Clifton brings life, and swagger to the Queen, impressing with their choreography and humour, but struggles when held against the calibre of the other stage Queens how exhibit a thoroughly natural sense of confidence and fluidity of the performances from Anthony Gyde (Ky Kelly), Garry Lee, and David McNair.

A continued success, the scoring and musical numbers for Everybody’s Talking About Jamie repeatedly demonstrate its popularity and appeal for fans and general audiences. A welcoming show, the lustre has been polished and tucked once again to make for an enormously enjoyable experience for any who open themselves to the heartwarming musical extravaganza with a remarkably crisp British high-school edge, and trust us, this Glasgow audience at the King’s Theatre definitely  ‘knows it’.

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