Review: EVERYBODY'S TALKING ABOUT JAMIE, Apollo Theatre

What must it feel like to perform to a socially distanced auditorium of masked audience members? Well, if the other night's 1000th performance of Everybody's Talking About Jamie is to be used as a benchmark, nothing could possibly mask the sense of joy and unity felt in the room for those 2.5 hours.

Jamie New, a sixteen-year-old misfit in Sheffield, has a secret - but it doesn't stay one for long. The news of his aspirations to become a drag queen soon sweep through his school, and he embarks on a journey of self-discovery and empowerment.

Despite the struggles that Jamie is facing, he isn't ashamed of who he is, he's simply scared of what he could achieve if he were brave enough to try. Book writer Tom MacRae has written a beautifully rounded multi-dimensional character in Jamie New, and he has Jamie Campbell - the real-life human being on whom Jamie New is based - as his inspiration. Director Jonathan Butterell complements the writing with delicate direction that mixes up the pace and avoids drifting into saccharine territory.

In a triumphant return to the stage, the entire cast and crew bring their A-game. From Noah Thomas' sensitive portrayal of Jamie New, to Melissa Jacques' astonishing belting of "He's my Boy" and Hiba Elchikhe's understated yet powerful performance as best friend Pritti, the love and care put into bringing these characters to life are indisputable. Composer Dan Gillespie Sells has crafted some standout pieces, notably the title track which opens the show with a burst of colour and optimism, and in contrast "The Wall in My Head", in which Jamie revisits the hurtful comments from his homophobic father as he struggles to get the confidence to leave the house in heels for the first time.

For this 1000th performance we were treated to a special appearance from original Jamie John McCrea and previous and soon-to-be UK tour Jamie, Layton Williams, at the curtain call. The Jamie from the forthcoming film, Max Harwood, also appeared with the real-life Jamie's mother and grandmother. (Sadly, the real Jamie Campbell couldn't attend as planned due to having to self-isolate!)

Some significant rewrites have clearly taken place to set this version of Jamie's Sheffield in a COVID-19 world, with social distancing gags and masks aplenty. The orchestra has been split into two for their own safety, with half in the pit and the others elevated above the stage.

This all feels very current - as if the source material didn't already. We're just at the beginning of our journey in levelling up, elevating the rights and voices of those who don't identify with the heteronormative narrative, and it's storytelling like this that can help to change the world.

Everybody's Talking About Jamie continues at the Apollo Theatre

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