Following being orphaned, Jane Eyre is placed in the ward of her cruel aunt, who favours her own children over Jane and eventually sends her to school, where Jane meets Helen, who teaches her that “there are no evil people, only evil deeds”. Growing into a strong, confident young woman, Eyre becomes a teacher and eventually a governess, and she takes employment at Thornfield Manor, where she meets and falls in love with Rochester, her employer. But Rochester is a deeply complex man who harbours dark secrets and carries with him the weight of a past which is about to come back to haunt him.
Charlotte Bronte’s seminal work needs very little introduction and under the impressive direction of Sally Cookson, the story is beautifully brought to life in this National Theatre production, using a slew of innovative and varied theatrical techniques to provide a highly contemporary take on a classic tale. The set, consisting of a white curtained backdrop and multi-level wooden platforms accessed by a series of ladders and steps proves to be incredibly versatile and surprisingly effective in its portrayal of the various locations. The cast scramble over the set with energy and enthusiasm as they portray multiple characters meaning that there is an almost constant flow of movement on stage. Simple props and a healthy dose of imagination on behalf of the audience provide for an effective, original and inventive presentation.
Nadia Clifford’s portrayal of the titular character is one which is full of confidence, life and determination, and Tim Delap’s performance as Rochester compliments it well, with his aloof and brooding quirkiness. Overseeing events is Melanie Marshall, who observes and narrates key aspects of Eyre’s life with bursts of jazz infused song utilising her beautiful and distinctive voice. The remainder of the cast play numerous roles with clear demarcation between characters and, in the case of Paul Mundell, with a little humour injected into the proceedings.
Quite what Bronte purists will make of the production is unknown, as, whilst the production sticks closely to the source material and lifts out text, passage and prose from it, this is not your run of the mill period costume drama. Instead, it is a refreshingly inventive, highly stylised and imaginatively presented piece which never loses the spirit of the novel, and which is as trailblazing and as forward thinking as the central character herself.
Jane Eyre is on National Tour calling in at numerous venues including Leeds Grand Theatre, Belfast Opera House, Glasgow Theatre Royal, Cardiff Wales Millennium Centre, Milton Keynes Theatre, Norwich Theatre Royal and Brighton Theatre Royal and is currently booking until 23rd September 2017. Visit the National Theatre Website for details. Many thanks to Sheffield Theatres for facilitating this review.
★★★ | Thoroughly Modern Millie – Leeds Grand Theatre and National Tour
Set in the prohibition era in 1920’s New York, Millie Dillmount arrives from Kansas determined to snag herself a rich husband, but ends up broke after being robbed, and finds her way to the Hotel Priscilla, a run-down establishment owned by Mrs Meers. Millie tries desperately to seduce her rich boss, whilst all the time falling for penniless Jimmy Smith. But when it comes to it, will Millie choose wealth over love, and will she ever work out why the girls in the hotel keep mysteriously disappearing?
Photo Credit – Darren Bell
Thoroughly Modern Millie is a traditional, old-school musical in a similar style to those written by Irving Berlin and Cole Porter. Using catchy songs, a will they/won’t they love story and gentile comedy, the show bounces along in a rather enjoyable manner and maintains all of the elements one would expect from such a production. The rather straightforward plot is interspersed with a number of pleasing ensemble dance breaks and littered with toe-tapping songs which progress the narrative. Throw into the mix a rather silly subplot involving disappearing hotel guests and an ending that could only happen in a musical and you have a fun show overall.
Joanne Clifton (Strictly Come Dancing) throws her all into the title role and surpasses expectations as Millie. The dancing, as you would expect, was spot on, but her voice was an unexpected treat, with only a little overacting letting her down at times. Sam Barrett proved to be quite a charming leading man as Jimmy Smith and the ensemble proved their worth in the dance routines, in particular, Damian Buhagiar who stood out from the crowd with his committed and well-performed dancing.
Where the show faltered was with an uncomfortably out of date portrayal Mrs Meers, the white slave trader (yes, that’s right!) as a pantomime style Chinese woman, complete with chopsticks in her hair and rather poor Pidgin English which jostles harshly against such an otherwise whimsical plot. The set was slightly uninspired, despite its art deco/Chrysler building influence; and a rather long penultimate scene in which Graham MacDuff’s portrayal of a drunken Mr Graydon and some fake corpsing certainly outstayed their welcome. The show could have also done with a reprise of one of the songs performed by the full cast to round off the evening as the curtain fell.
Overall, the show is light, bubbly, breezy and undemanding and a generally solid production of a little performed, if slightly dated, musical. Clifton shines in the singing and dancing stakes and the show is ultimately a feel-good, if rather throwaway, piece of theatre.
Thoroughly Modern Millie is currently at Leeds Grand Theatre (www.leedsgrandtheatre.com) until 22nd April 2017, before continuing on its national tour until the 15th July 2017. Full details can be found at the show’s webpage at http://modernmillie.co.uk/
In a story set in the testosterone-fuelled world of boxing, “Gorgeous” George O’Connell, a street brawler from the travelling community is approached to be coached professionally for the sport by a local gym owner. But George’s deepest secret cannot be contained when openly gay boxer Dane “The Pain” Sampson makes a move on him in the changing rooms. The two men fall in love as George tries to come to terms with his sexuality, but they face their biggest fight when George’s internalised homophobia rises to the fore and his actions lead to a tragedy that neither of them could ever have envisaged.
Photo Credit – PR Supplied
In 2015, boxer Tyson Fury caused controversy by stating in an interview that homosexuality was one of three components that would see “the devil come home”. The comments caused a media storm, a backlash against the boxer and demands for him to be removed from the BBC Sports Personality of the Year shortlist. This play by award-winning playwright Rob Wright throws, and squarely lands, a counter punch at those comments by not only telling the story of gay men in the middle of the ultra-masculine environment of the sport, but by also putting forward a gay central character whose background is not that dissimilar to the background of Fury himself.
Using two actors to portray all of the characters in the story, the play has a script with charm, warmth and some genuinely funny moments, as the pair struggle with their relationships with their parents, their fledgeling relationship with each other and the pressures and prejudices of both their professional and personal communities. The set, comprising of a changing room bench, is repositioned to transport the scenes to the various locations, and the characters demarcations come from the use of simple costume changes and some nifty versatility from the two-hander cast.
Rob Ward centrally plays Gorgeous George with a cocksure swagger and confidence; whereas Ryan Clayton balances this out with a measured performance as Dane, played with a sensitive vulnerability. But it is Clayton’s performance of Mrs O’Connell, the foul-mouthed but well-meaning matriarch of George’s family that turned out to be a scene stealer.
Whilst the presentation and performance of the show could do with a little polishing, there is a lot to recommend it. With its 70 minute runtime, the play is well written, well-paced and laced with humour, allowing the central message to come through without ever sounding preachy. The uncertainty portrayed by George in coming out is something that many gay men will relate to, and the exploration of the underlying homoeroticism in such a masculine sport is a welcome and timely one.
Gypsy Queen is a funny, poignant, thought-provoking and relevant piece of theatre and one which is well worth catching.
The show contains full frontal nudity, scenes of a sexual nature and strong language. Gypsy Queen is currently on national tour and details can be found at http://www.gypsyqueentour.com/ . The show was reviewed at Doncaster CAST Theatre, who has The Faaaabulous Ceri Dupree Show coming soon. Visit https://castindoncaster.com/ for details.
In this tale set in Sheffield, a group of ex-steelworkers with seemingly very little in common, other than their unemployment, band together in a get rich quick scheme, whereby they plan to rival The Chippendales by becoming strippers and giving the audience a little something extra – by going all the way. Gary, needs money as he is on the cusp of losing contact with his son, overweight Dave has a big body image problem, Horse has a rather (ahem) “small” problem and Lomper has his own secret hidden in his closet. But despite their unlikely sex symbol status, the whole community waits to see whether they really will go ahead with their scheme and whether they will go “the full monty”.
Not to be confused with the musical version of The Full Monty, which was produced in 2000, this version is a relatively straight play, which does away with thin plot and thinner characterisations to simply link musical numbers; and instead provides a play with heart, rounded characters, a genuinely funny script and, of course, the ending that the audience were waiting for.
Even overlooking the rather dubious Sheffield accents (you can’t fool the home crowd, you know), the production felt a little shouty at times; and the cast were broadly functional as an ensemble but never really excelled. That said, what Gary Lucy (“Eastenders”) lacked in performance, he made up for in the eye candy stakes; and Anthony Lewis gave a suitably downbeat performance as the depressed Lomper, especially during his coming out scene. But standing out from the crowd was Chris Fountain (“Hollyoaks”, “Dancing on Ice”) who really lit up the stage and outshone the rest of the cast, with a performance bursting with enthusiasm, confidence and a level of sexiness which was hotter than a steelworks smelting pot.
The show is written by Simon Beaufoy, who wrote the original story and received an Oscar nomination for his screenplay for the film. The story of the play very closely mirrors that of the film itself, with all of the key plot points, pivotal scenes and music being extrapolated, and despite the running time of the play being approximately 40 minutes longer than the film; it generally doesn’t feel too padded out. What does come across much more in this production is the political and social commentary hidden beneath the comedy and narrative; and there is a real balance between the humour, sadness and optimism portrayed. Despite the characters initial differences, there is a genuine feeling of friendship which permeates the play, accompanied by a strong sense of family, loyalty and acceptance.
Overall, the show remains a feel good, funny and enjoyable show, and the whoops of delight by the time the curtain (and the undergarments) fell proved it was a real crowd pleaser.
The Full Monty is rounding off its current tour in the theatre where it had its world premiere, so don’t miss your last chance to catch up with the boys for a while. The Full Monty is playing at Sheffield Theatres until the 15th April 2017. For information and to purchase tickets visit www.sheffieldtheatres.co.uk .
★★★★ | Despite his reputation for romance and his wild sexual liaisons, Casanova remains a historical figure with much more to offer than just a debauched lifestyle; and it is those lesser known aspects of his life which are subject to a brand new feature length ballet. Casanova was a trainee priest, musician, writer, social climber, mathematician, prisoner, gambler, food lover and fluent in seven languages. There is much more to Casanova than there first appears and this ballet explores his life and reputation in a way which debunks the perception that he was little more than a philandering Lothario.
Photo Credit – Justin Slee
With striking visuals, choreographer Kenneth Tindall tells the detailed and intricate story of Casanova’s extraordinary life and manages to pack in many aspects of his life in a way which never feels rushed or forced. Using a range of techniques, Tindall brings out the best in the company with routines that range from grand, sweeping set pieces to intimate movements; all of which combine to convey the story not only efficiently, but also in an absorbing and intriguing way. On a stage flooded with golds, oranges and purples, the first act is faced paced and dramatic; which subsequently yields to a more intimate second act filled with gentile and tender routines; leading to a finale which beautifully rounds off the show.
There is an abundance of flesh on display, and the ballet does not shy away from Casanova’s sexual appetite, finding himself in the company of both men and women. In a refreshingly open way, there are scenes of sensuality between Casanova and a number of men; and the number of muscular arms, tight pecs and washboard abs on display gently, but tastefully ,nudge the production towards an edge of homoeroticism at times.
Photo Credit – Caroline Holden
Giuliano Contadini makes the most of his characters many layers and provides what is perhaps is most rounded performance to date as the titular character and the remainder of the cast are all proficient in their multiple roles.
The production values are high, with lavish costumes and gilt edged props which reflect the sumptuousness and extravagance of the period setting. Add into that a set which creates a versatile dance space and multiple locations by the use of three pillars and a variety of forced perspectives; a stunning lighting design and an original score which is cinematic, sweeping and stirring and you have all of the elements of a very fine production.
Casanova is currently playing at Sheffield Lyceum Theatre until the 1st April 2017 before visiting Norwich Theatre Royal, Milton Keynes Theatre, Cardiff New Theatre, Salford The Lowry and Sadlers Wells. Visit www.northernballet.com for full details.
In a reimagining of the classic tale, Dr Victoria Frankenstein shuns her family as she relentlessly pursues her quest for knowledge and in her exploration of the part of existence where life and death meet. In her experiments with bringing the dead back to life, she creates a creature, which overpowers her and escapes. Haunted by her creation and by her guilt, her life begins to unravel as the creature returns a little too close to home.
Photo Credit: Pamela Raith
Mary Shelley’s definitive work is one which is firmly cemented in popular culture and one which is not easy to present with an original slant, which Northern Stage have tried to do. There were numerous themes of conflict portrayed within the production, with Victoria shunning religion in favour of science; her pursuit of knowledge at the cost of her compassion and the sacrifice of others for the preservation of one’s own interests. As the story arc progressed, there was something bittersweet in the way in which it takes a monster to make Victoria more human; despite how she treats her family and the way in which her self-driven ambition is ultimately self-destructive.
Utilising a quasi-steampunk style set and, at times, some effective lighting; there was a relatively competent performance from Polly Frame as Dr Victoria Frankenstein; and whilst Ed Gaughan’s portrayal of the Creature was physically engaging, the way in which the creature spoke made many of his lines indiscernible. However, the closing scene was one which did carry some emotional weight and did bring the characters journey to a definitive and tender end.
But sadly, the production overall was one which was never really hit its stride. The re-imagining of Dr Frankenstein as a female had such potential; but the struggles of Victoria to carve a path into the male-dominated medical profession or the challenges faced by her in breaking with the conventional female role was never really advanced, which, in the end, resulted in adding nothing of significance to the story. The timeline of the narrative was often unclear, with no clear demarcation between shifts in scenes or timeframes; and an intrusive sound design dominated the first act. But the biggest issue was that the production just lacked atmosphere and dramatic tension. A heavy reliance on the relationships between the Frankenstein family members meant for a limited narrative progression and the all too brief appearance of the creature throughout meant that the production felt more like a family drama than a gothic horror.
Whilst there are some interesting themes on offer and despite a handful of redeeming features, this feels like a missed opportunity, and it is a genuine shame that the production never really achieves its potential, in what could have been a wholly refreshing and original take on a classic tale.
★★★|In an elegant townhouse in Victorian London, Bella Manningham is slowly losing her mind. Pictures keep disappearing, trinkets seem to move from place to place and items go missing without explanation. Add to that the mysterious sounds from the top floor of the house and the dimming of the gas lamps and Bella’s sanity is called into question. But what is the secret history lurking in the walls of the home and just who is the stranger who calls unannounced at her home one evening? Why does Bella’s husband, Jack, keep reminding her of her mother’s insanity and what is the connection for all of them to a 20 year old unsolved murder?
Photo Credit – PR Supplied
Patrick Hamilton’s play is a direct descendant of the Victorian melodramas that it portrays. Continuing the themes of innocence menaced by something darker, the plays script, setting and overall feeling is one of claustrophobia and oppression. Given that the play is set in a single room and given that it is, essentially, a three hander, the play has to rely heavily on the performances of the actors to carry it through. Kara Tointon’s portrayal of Bella was fine, although the increasing histrionics started to grate a little with the progression of the story. Rupert Young’s turn as Jack Manningham was well rounded, initially quite charming and alluring, but subsequently developing his character to include an uneasy undertone. But it was Keith Allen’s performance as the mysterious visitor which stood out the most, performing his stern and determined character with his tongue just slightly in his cheek, lightening what is otherwise quite a bleak drama with a soupcon of humour and playing to his strengths.
The stage set is a detailed drawing room, which has a forced perspective and increases the claustrophobic feel of the piece, which is enhanced further by some atmospheric lighting. The productions sound design was nothing more than functional and the sound in the theatre allowed for every word to be heard clearly, which is essential with such a wordy script.
As a whole, the piece was a fairly mixed bag. The first act nicely established the characters from the outset and drew the audience in as to the mystery, hinting at the possibility of the plot twists which may come, and ending the first act, story-wise, on a decent cliff-hanger. The second act seemed to lose its way slightly, becoming a little muddled and failing to deliver on the anticipated plot twists, instead, providing a rather straight narrative and one which is not entirely unpredictable. There are a couple of cattle prod scares which highlight the supernatural element of the story, although in a rather clumsy and unnecessary way, and this is an element which is never really followed through.
Gaslight appears, from the outside, to be mix of The Woman In Black and An Inspector Calls, but in reality is a straight Victorian melodrama, portraying a relatively linear narrative with a socially aware undercurrent addressing the treatment of Victorian women and the discrepancies in equality faced by them. Overall, it is a fairly engaging but lightweight mystery / thriller worthy of a watch and which has an ultimately satisfying ending.
Gaslight is currently at Sheffield Theatres (www.sheffieldtheatres.co.uk) until the 25th February 2017 before heading to Richmond and Cardiff.
★★★★| The Pet Shop Boys Super Tour – Leeds First Direct Arena
32 years ago, The Pet Shop Boys burst onto the music scene with West End Girls, their first single and their first of many number ones. 32 years later, they have kicked off their UK tour, Super, at Leeds First Direct Arena, touring off the back of their latest two albums, Super and Electric, their set featured selected tracks from those albums along with a host of classic tracks and a few unexpected songs. The question is, have The Pet Shop Boys still got it? TheGayUK were there to bring you the lowdown.
(c) Tej
Opening with Inner Sanctum, the band rattled though some of their more recent tracks, including The Pop Kids, Burn, and The Dictator Decides from their latest album, Super, and Love is a Bourgeois Concept and Inside a Dream from their Electric Album. These latter two albums have had a heavy dance music slant, and the songs sounded great performed live, with the crowd on their feet and the bass reverberating in your chest. Scattered amongst the set list were some unusual, but welcome choices, such as In The Night, New York City Boy, The Sodom and Gomorrah Show and a beautifully subtle version of Home and Dry, the latter being a real highlight of the show.
But it was, of course, the classic hits including West End Girls, Love Comes Quickly, Domino Dancing, Always On My Mind and new versions of Left To My Own Devices and Go West, which really got the crowd going; and the seminal It’s A Sin was a clear winner within the sold out arena.
Accompanying the music was a projected backdrop and a jaw dropping light and laser show, creating a visual feast and an assault on the senses, as the lasers reached out into the audience, jabbing them with bony coloured fingers, before bathing them in soft sheets of light which penetrated the smoky atmosphere of the arena. Dispensing with the need for backing dancers and elaborate dance routines, the band’s presentation of electronic entertainment neatly mirrored their pioneering electronic sound. The visuals in themselves are worth the price of admission.
Tennant’s voice still sounds as solid as ever, the vocals were clear and songs that were over 30 years old still sounded contemporary as they neatly nestled between the new tracks. However, whilst the light show was incredible, there were times when you were so blinded by the constant flashing lights aimed directly at you, that the movement on stage and the band themselves were obscured as they became washed out in a sea of light; and judging by the reaction of the crowd, a few more of the classic hits would have been welcome, although with such an extensive back catalogue to choose from, it is inevitable that there will be some omissions.
With an extravagant stage show, breath-taking visuals and a sound which never seems to age, the question is have the Pet Shop Boys still got it? And they absolutely have.
The Super Tour kicked off on the 18th February 2017 and tours at various locations including Manchester, Nottingham, Glasgow, Birmingham, Bournemouth, Edinburgh, London and Blackpool. Visit the official website at http://petshopboys.co.uk/tour for details.
Jamie is 16 and is not like his friends at school. His best friend wants to be a doctor, but he wants to be a drag queen. Raised by his mum in a single parent family on one of Sheffield’s tougher estates, Jamie finds himself, and his alter ego, Mimi Me, with the help of fading drag queen, Hugo, and with the support of his ever doting mother and her best friend. But Jamie’s difficult relationship with his dad dents Jamie’s confidence; and the school aren’t particularly enthused about the big question on everyone’s lips – namely, whether Jamie will go to the school prom, or whether Mimi Me will. ★★★★★
Writer Tom MacRae’s script is beautifully written, packing into it a wealth of instantly likeable and relatable characters, plenty of laugh out loud one liners and genuine heart. He gets the story across by celebrating the protagonist rather than victimising him and Jamie’s journey is well paced, moving and entertaining. Complementing the book perfectly are the musical numbers written by Dan Gillespie-Sells, which, quite honestly, doesn’t have a bad song amongst them. The show opens with “You Don’t Even Know It”, a bubbly piece of contemporary pop and each and every song that follows is a delight. Balancing out the upbeat numbers are some tender ballads, including “It Means Beautiful” and “My Man, My Son”, the latter quite literally bringing a tear to my eye. Kate Prince’s choreography fuses multiple styles of dance, from street dance to ballet, with energetic, fresh and uplifting routines, whilst Jonathan Butterall’s steady direction seamlessly blends comedy with pathos and makes the most of his well-rounded and diverse cast.
With such well written characters, you need a solid cast to bring them to life. John McRea is delicious in his portrayal of Jamie, vacillating between oozing self-confidence and brimming with self-doubt, most of which was done whilst strutting around in a pair of heels so large that even RuPaul would shy away from them. Josie Walker gives a touchingly understated performance as Jamie’s Mum and belted out her two main numbers with a powerful voice which seemed to come out of nowhere; and she was complimented well by Mina Anwar’s comic performance as her best friend, Lee.
Everybody’s Talking About Jamie is a coming of age story which is more reflective of today’s society than most of the genre. Gone is the stigma of sexuality, and gone is the major struggle for acceptance by his peers. Jamie is embraced by his supportive mother and loved by his friends at school. The story is more about Jamie’s internal struggle and his relationships with family, rather than it being “him against the world”. This refreshing approach makes for a more intimate and focussed narrative and one which genuinely pulls you in. It has been a while since I have seen an audience get so much behind a show, with cheers of support echoing around the theatre at key points in the story, which can only be a testament to the quality of the production.
Everybody’s Talking About Jamie is everything a musical should be – well-crafted with instantly catchy songs, makes you laugh, cry and cheer and amounts to a thoroughly entertaining piece of theatre with a strong heart at its centre. Jamie is not to be missed, and is simply uplifting, joyous and inspirational.
Everybody’s Talking About Jamie is currently playing at The Crucible Theatre, Sheffield until 25th February 2017. Visit www.sheffieldtheatres.co.uk or call the box office on 0114 249 6000
Based on the BBC three documentary, Jamie: Drag Queen at 16, a brand-new musical is about to burst onto the stage in spectacular, drag-tastic, feel good fashion, in what is described as a “big glittery dream” and which promises to be one of the most talked about musicals for some time.
Everyone’s Talking About Jamie is written by Tom MacRae (Doctor Who) and has music by Dan Gillespie Sells of The Feeling (who are best known for their album Twelve Stops ‘Till Home). The story charts the journey of Jamie Campbell, a Sheffield lad, who has to decide whether to express himself and who he really is by going to the school prom in drag. Packed with humour, emotion, a strong social message and real warmth, the show is set to have its world premiere at Sheffield Theatres on the 9th February 2017.
With a diverse cast, including Mina Anwar (TV’s The Thin Blue Line, Coronation Street, Shameless) playing Leigh; John McRae (Eastenders, The Catherine Tate Show, New Tricks) who plays Jamie and Tasmin Carroll (Eastenders, Heartbreak High) as Miss Hedge, the show explodes with energy, emotion and a coming of age story unlike any other. TGUK caught up with the shows lead actors during a break in rehearsals.
Photo Credit : Sheffield Theatres (Clockwise – Mina Anwar , John McCrea , Tasmin Carroll)
TGUK – Thank you for taking time out from rehearsals to chat to us… how are rehearsals going?
John – Really well, thank you. We’ve been rehearsing down in London for a few weeks and so to finally arrive in Sheffield and rehearse at the Crucible has really reinvigorated the entire team. I’m loving being back in Sheffield and having the opportunity to really get into the role.
Mina – There’s lots of elements to the show, and were just at the production point where were starting to pull everything together. We’ve tended to do isolated scenes so far, and do a little from here and a little from there, but it’s all starting to really come together now we’re here at the Crucible.
John – And from an acting point of view, it’s great to be able to hear the local accents. What’s great about Sheffield is that everyone is so friendly, so you don’t have to eavesdrop on other people’s conversations; you just go up and talk to them.
TGUK – Everyone’s Talking About Jamie is a brand new, contemporary musical – so what can people expect from the show?
Mina – The show is based on the true story of Jamie Campbell, who was the subject of the BBC3 documentary, Jamie: Drag Queen at 16. It’s about Jamie finding himself, not just in who he is as a person, but finding himself and his place in his family and in his community. The story follows Jamie as he decides whether to go to school prom in drag or not, and about him discovering who he is and how he wants to live his life.
John– It’s a proper pop musical, a big glittery dream of a pop musical, but one which people can take a lot from as they leave the theatre. I genuinely think that it speaks to everyone. It speaks to 16-year-olds; it speaks to mothers, to children, to teachers and to anyone who is in contact with young people who are developing their own sense of identity. It is based in Sheffield, but it has a universal message which is wrapped in such brilliant music.
Mina – The music really is important; it has a proper pop vernacular to it which makes it immediately accessible. Some of the music is really moving and speaks immediately to the audience both in terms of lyrics and melody. We’ve also got some terrific dance numbers, Kate Prince, one of the choreographers from Zoo Nation, is working on the show, and she’s fusing styles of hip-hop, street, narrative dance and big production numbers all into this show.
Tasmin – But it’s also about being true to yourself. It doesn’t lend itself just to the message about people being gay, or address just transvestite / transgender issues; it’s about anything in life that people might face, and it’s about being proud and comfortable with the decisions and choices that you make. The key for young people to know is that there are uncertainties out there as you grow up, but that the overall message from the show is ultimately one that is very positive.
TGUK – Whilst it is a coming of age story, there are also a lot of other elements to it. What, to you, is at the heart of the story?
John – It’s about working out who you are and what you want to be. Often what you want to be is so far away and seems almost out of reach, but it’s about how people go about achieving those dreams. The moral of the story is that you don’t get answers from anyone, it’s that you stay on a journey for what you believe in and that you stay true to yourself and to the path that you’ve set out upon
Mina – It’s about finding your place, both in yourself and in your community. It’s set in a small community in Sheffield where self-expression doesn’t really exist, certainly not in the sense that Jamie would wish it did. It’s a story about family; and ultimately is a very human story, that’s what at the heart of it. It’s about whom we would be if we could go back and make choices to please ourselves rather than making choices to please other people
John – But family doesn’t just mean blood, Mina’s character, Leigh, is Jamie’s mum’s best friend so it’s not all about the conventional family. It is the story of a mother and son and about the balance of a tricky, yet love filled relationship; but what it boils down to is that Jamie comes from a single-parent family and he is an only child, so despite the difficulties that he and his mum have at times, there is just the two of them and they rely upon each other. What was clear, having met Jamie (Campbell) and having watched the documentary, he and his mother have an open and honest relationship, he’s not wholly disenfranchised from others, but whilst he is not the coolest kid in school, he always has his mother to go back to.
TGUK – What makes Everyone’s Talking About Jamie different to other coming of age stories?
Mina – It’s not just about sexuality. A lot of coming-of-age stories are about being gay, but with Jamie, not only is he gay, he is bulimic, he is somebody being bullied. He is the protagonist and we follow his story, but in most coming-of-age stories, you often get the conflict between hero and villain, but this show is not really about that.
Tasmin – It’s a really interesting topic, one which is very contemporary and one which is written from the perspective of young people outwards making it easily relatable. It’s not just for young people, it is also for adults. The inclusion of the music and the dance numbers also takes it away from the realms of the usual coming-of-age stories
John – In many of these types of stories, good advice is often given but bad choices are made. This show is different because Jamie has a dream and a clear-cut idea of what he wants, but gets terrible advice which sets him down the path of self-destruction. He already knows what he wants, it is how to achieve it.
Mina – It’s presented on a much more personal level and you see Jamie growing through coming to terms with the challenges he faces. There are so many different elements to it, but the main one is that it is a story about a lad being a Drag Queen, about how he achieves what he wants and about how that impacts not just on him, but on those around him.
TGUK – Given its topic, what do you think the relevance of plays like this are within today’s society?
Tasmin – I have to say, it’s one of the most perfect pieces of new theatre that I’ve been involved with. It’s incredibly topical, the issue of cross dressing, transsexuals, transvestites, it shows how really important those issues are, brings it more into the mainstream. It goes beyond the threshold of “convention” and allows young people to feel that these behaviours are normal. Ultimately, Jamie comes from a place of real love and he’s just trying to work out how to be himself. He is conscious of his feelings and the way in which it impacts on everyone else, but the real message of the play is an enduring message of love. The story is incredibly well told and I’m sure that everybody, not just people of Jamie’s age group, will take something from it.
John – With everything that’s been in the news recently about Trump, women’s equality, issues about gender identity and the issues facing transgendered people, the themes contained in the play are really important. There is a currently a real challenge to the underbelly of Civil Rights on so many fronts and it’s nice to see the empowerment of someone so standing up for themselves and what they believe in and to see that from the perspective of someone so young.
Mina – It is really exciting, it gives a glimpse into a world that people may not know. We are fortunate to have a really diverse cast, all of whom find inspiration in each other. It’s great to be able to take part in such a friendly musical, especially one which is so challenging. What’s unique about it is that it doesn’t necessarily reinforce stereotypes. What we didn’t want was the representation of stereotypes or reinforcement of what people expect to think, rather than what they should actually know. It’s about making unique representations of each individual. It may well enrich people in terms of the story that they don’t know very well; it may touch them by making them recognise a personal struggle that they have had. Whilst the story centres on the personal struggle that Jamie has, it does zoom out and allow people to stand back and look not just at what Jamie is going through, but how the internal struggle that Jamie is facing can be extrapolated onto any struggle that any person is having.
TGUK – Shows like Priscilla and La Cage Au Folles feature stories about drag, but how does Jamie compare with these types of shows and what makes it different?
Mina – I think some of it is to do with the collaboration of those who created it. Dan Gillespie Sells is very knowledgeable of the musical tradition, and writes such instantly accessible songs. Tom Macrae is an experienced TV writer and Jonathan Butterell is a director of some standing. The music has a nod to different styles and to different genres, but nothing is overtly stated and the story seeps out of the script and the music. There are some songs that will make you weep with sadness and there are others which will leave you with a beaming smile – there is the whole gamut of emotion conveyed in the music and the songs are used to progress the story and characters rather than just providing an excuse for a dance number.
Tasmin – I think that the teenage element is really different. It’s not coming from a place of cynicism, it’s coming from the point of view of someone who is starting to experience life, someone who is on the edge of experience. It’s not about someone who’s middle-aged and looking back, either with or without regret, it’s a prelude to the rest of Jamie’s life.
Mina – Absolutely, and in this story, drag is not a novelty. It’s about a struggle, a hero’s struggle, both with himself and with those around him. Jamie’s journey is not there simply to give the hero something to struggle with; it’s a fundamental part of who he is. The story is not just frivolous and sharp, there is a lot of elements where we see things from inside Jamie’s head, it really breaks the fourth wall so you really get a feel for what life is like for Jamie; but all the features come together and balance out so you have a good element of comedy, a real feel good piece of theatre and a serious undertone to the story.
Tasmin – It’s a real talking point. It can be used to open up a dialogue between a young person and other people in their lives, whether it’s their parents, teachers, school friends or anyone. It’s potentially life changing theatre wrapped up in a perfect pop musical.
Everyone’s Talking About Jamie premieres at Sheffield Theatres on the 9th February 2017 and runs until 25th February 2017. For tickets and information visit www.sheffieldtheatres.co.uk or call the box office on 0114 249 6000. You can also follow Sheffield Theatres on Facebook (@shefftheatres) and Twitter (@crucibletheatre).
★★★| Based on the 1990 film of the same name, Ghost follows the story of Sam and Molly, whose life together is cut short when Sam is murdered in a seemingly random street robbery. Sam’s ghost stays close to Molly, but he soon finds out that the cause of his death was no accident and that the reasons behind his murder lie a little too close to home. Getting in contact with Oda Mae Brown, a fake medium who can actually hear him, Sam sets out to convince Molly that he is still with her, and to protect her from danger.
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This musical, with songs and lyrics written by Dave Stewart of The Eurythmics has been around for some time, and this new production has overhauled the show, giving it a clean, contemporary and fresh feel. The show follows the plot of the film closely, complete with the famous scene at the potter’s wheel to the dulcet tones of the Righteous Brothers.
With a strong central performance and a beautifully natural voice, Carolyn Maitland stood out from the cast with her performance of the recently widowed Molly, whilst Jaqui Dubois gave a sass-filled comedy performance as Oda Mae, hitting the right comedy notes and bringing some relief from the on-stage sadness portrayed by the lead characters. Whilst there was nothing really wrong with his performance, Andy Moss (Hollyoaks), for some reason, didn’t particularly convince as Sam, not quite having the gravitas and weight that would really drive the character home convincingly.
The set was impressive for a touring production, which constantly changed and adapted to portray the different locations, and when you throw into the mix the well-constructed lighting scheme by Nick Richings, an immersive sound design and a well-balanced audio which picked up the clear diction of the cast, you had a technically solid production.
But where the show falters, surprisingly, is in its musical numbers. The songs themselves were enjoyable enough to listen to during the show, but despite the pop credentials of the writer, they were instantly forgettable and didn’t contain the usual hook or melody which has you humming them as you leave the theatre. The songs fell somewhere between trying to progress the story and trying to be an entertaining piece of pop, but tended to fall between the two. What was also rather disappointing was the choreography, which was rather simplistic and lacklustre, adding to the feeling that the songs weren’t either show stopping production numbers or narratively progressive.
Despite its faults, his reworked production improves significantly on previous versions of the show, pulling out more of the emotional aspects of the story and proving to be a pleasant, if ultimately fairly forgettable production and one which fans of the film will certainly delight in.
