It’s not uncommon for a musical to have origins in the theater, but how many of those works sprung from a documentary first? Everybody’s Talking About Jamie can trace its beginnings to the BBC Three documentary Jamie: Drag Queen at 16 — a 2011 portrait of Jamie Campbell, a 16-year-old boy who wanted to wear a dress to the prom. His true story inspired a West End stage play by Dan Gillespie Sells and Tom MacRae. Jonathan Butterell directs this film adaptation of that smash hit musical.
Jamie New (Max Harwood) — as he’s re-named here — is gay. However, that’s not even the issue. His classmates already know this. Jamie is out at the beginning of the picture. While his peers are thinking about what they want to be after graduation, Jamie wants to be a drag queen. He craves the spotlight and needs to be a star. The upcoming prom is the pivotal location where he hopes to unveil his new persona. His best friend Pritti (Lauren Patel) and his loving single mother, Margaret (Sarah Lancashire) may register slight surprise initially, but quickly shower him with unwavering support. There’s also local drag legend Hugo Battersby / Loco Chanelle (Richard E. Grant). He acts as a mentor. Even Jamie’s schoolmates seem mostly OK with his decision save for the obligatory class bully (Samuel Bottomley). The underwritten character casts a dismissive remark here and there, but never physical violence. Providing more genuine conflict is his absent father (Ralph Ineson), who wants nothing to do with him and one teacher, Miss Hedge (Sharon Horgan).
Miss Hedge (Sharon Horgan) is a fascinating character. She imbues the saga with some unexpected nuance and complexity. She isn’t so much intolerant as irritated by this diva who demands to be the center of attention in her class. “I’m a superstar and you don’t even know it,” Jamie sings in a lively production number where the boy daydreams a full-on performance with his classmates as backup dancers. Miss Hedge has no problems with his desire to wear a dress and be a drag queen. However, the prom she contends is not the setting. The yearly dance is a place for all the kids to shine. Jamie’s desire threatens to seize focus. The gala for many becomes a celebration of one. In a musical where you’re playing to the back of the house, her negativity has the undermining temperament of a villain, but here it’s registering a little subtlety. Her pushing back on his narcissism starts to make sense.
The central conceit could have been handled in any number of ways. Here the drama is presented as a cheery and upbeat crowd-pleaser. The lesson promotes the timeworn mantra “Be true to yourself.” Disregard what other people think. The thing is, Jamie does care. His biggest fear: being ignored. He is supremely self-absorbed. He aspires to be famous and demands that everybody love him. His personality is all ME! ME! ME! His ego grows a little less inspiring after a while.
Propelling the lighthearted spirit is an energetic collection of show tunes. Full disclosure — initially, I thought the songs were merely pleasant. I couldn’t recall a single one immediately after I watched the film. Then I started listening to the movie soundtrack. Its buoyant energy started to work its way into my consciousness. I’ve been humming it ever since, “Everybody’s talking ’bout J-J-Jamie. Everybody’s talking ’bout the boy in the dress who was born to impress” the students sing at school. The title track occurs after they attend Jamie’s drag show the night before. Other highlights include Jamie’s mother’s poignant ode “He’s My Boy” and “This Was Me,” a vulnerable reminiscence from Hugo about the past. The aforementioned “And You Don’t Even Know It” is perhaps the stage musical’s best-known ditty. These hook-laden melodies paired with the imaginatively staged routines elevate the production. The subject of self-acceptance comes across as superficial at times but the colorful, catchy compositions have a joy that propels the message of encouragement with vitality and verve.
09-19-21