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SCENE IT: Identity embraced with fun and fabulous musical abandon in EVERYBODY’S TALKING ABOUT JAMIE
- Barbara Loots
- Jul 16
- 3 min read
Barbara Loots
Waterfront Theatre School presents the South African premier of the international smash-hit EVERYBODY’S TALKING ABOUT JAMIE at the Artscape Theatre’s Arena until 19 July 2025. With the last two shows already sold out, it is safe to say that audiences are loving this vibrant, high-energy and uplifting story about 16-year-old Jamie New, a boy from Sheffield, who dreams of becoming a drag queen.
Jamie’s journey is one of self-discovery with the support of his loving mother, best friend, and an unexpected drag queen mentor. It’s a story of courage, and encourages introspection as Jamie learns that he not only has to overcome societal obstacles to chase his dreams but also self-imposed internalised obstacles in the journey of embracing the fact that it is absolutely okay for him to be 100% authentically himself, Jamie ultimately realises that he does not have to hide behind the make-up and glamour of his drag persona, Mimi Me, and that it is completely acceptable to just be the amazing Jamie New in a beautiful dress and stunning heels at his school prom.
With book and lyrics by Tom MacRae, and music by Dan Gillespie Sells, this pop musical sensation, based on a true story, is a heart-warming, toe tapping show.
Having seen the original West End production –which I absolutely loved– I tried to limit my expectations as I walked into the Waterfront Theatre School’s production at the Artscape Theatre Arena: Reminding myself that although this is the first time South Africa gets any staging of this marvelous musical, it is a student production and one must allow space for them to test and grow with variations and interpretations.
Interestingly, director Paul Griffiths mentioned in an interview with Cape Talk that this staging has been strongly influenced by considerations of the documentary about the journey of Jamie Campbell who at 16 stepped into the shoes of a drag queen alter ego and the way he navigated his relationships with family and peers. Very little direct interpretation was apparently drawn from the West End and film versions. One can argue the pros and cons of such an approach, but ultimately the question is how the current production engages the attention of audiences and if it hits the mark in leaving a lasting impression.
Some of the performers are stronger actors than singers and vice versa, but as EVERYBODY’S TALKING ABOUT JAMIE is regarded as a play with music it provides scope for both performance styles to shine at various intervals.
Act One does the groundwork of putting in place all the key elements with catchy tunes and character introductions. But it is Act Two where the real test lies, where this narrative driven show crashes and cradles your heart at the same time. If you can get the audience to buy into the emotional journey you are selling in Act Two, you have succeeded in presenting them with a slice of Jamie New magic onstage. And the Waterfront Theatre School students hit the mark on that.
Especially in Act Two I sat watching their production unfold with a lump in my throat, completely on board with what they were offering. My positive reaction to this staging is primarily because of a few key performance moments: Danielle Bosman (Margaret New) brings one to the edge of an emotional cliff with her exceptional rendition of “He’s My Boy”, and Kate Lagan (Pritti Pasha) adds a substantial dose of heart too with fantastic vocals in her performance of “It Means Beautiful”. Bosman and Lagan clearly understand the nuance of delivering a moment through music. Along with John Marshall (Jamie New) and Asanda Mngadi (Hugo Battersby/Loco Chanelle) they are the beat and pulse of this staging. Where Marshall and Mngadi may perhaps not be the vocal powerhouses that Bosman and Lagan are, their performances make them the linchpins with nuanced and intuitive acting that should take them far in the industry.
Flawless this staging of EVERYBODY’S TALKING ABOUT JAMIE is not (the accent work did go for a bit of a wandering tour through Greater Britain), but as a strongly student-driven production it succeeds where many professional theatre offerings have failed… and this ensemble will give any professional troupe a run for their money. In fact, days later I was still humming “He’s My Boy” at random moments. So did this staging leave a lasting impression? I would say so, yes.
You have until 19 July 2025 to see this heartfelt musical drama that celebrates themes of self-expression, acceptance, and resilience. Please note the age restriction of 12. The production runs at 140 minutes with a 30-minute interval. Tickets can be booked online through Webtickets.
