Everybody’s talking about York Stage… as the critically acclaimed musical returns to the city, bringing its northern charm, grit and glamour in equal measure.
York Stage are no strangers to Jamie’s story, having brought us their teen edition in 2023, so it’s a delight to see it return to the grandeur of Grand Opera House York. And with more room to sparkle, this is a story that continues to impress, influence and remind audiences why its message remains as powerful as ever.
Nearly a decade on from its premiere in 2017, it feels just as relevant… a story of identity, acceptance and having the courage to be yourself. York Stage have built a reputation for elevating and entertaining, and once again, this is a case in point, proving exactly why this story deserves to be told and told well. It’s undoubtedly a roaring success.
At the heart of it all is Frankie Bounds, stepping into the spotlight and high-heels of our sassy but sweet 16-year-old drag dreamer, Jamie New. Taking on such an iconic character is no small feat; it’s one thing to deliver the sass and sparkle and quite another to let the vulnerability beneath it shine through. Bounds manages both beautifully.
From the first glimpse into Jamie’s inner world in ‘The Wall in My Head’ to those inevitable moments of self-doubt, we’re reminded that beneath the bravado is a young person simply trying to work out who he is and where he belongs. Bounds brings the energy, cheek and charisma, making Jamie utterly loveable from his initial opening monologue to his final riff.
There’s no denying Tom MacRae’s book and lyrics are the beating heart of this show, packed with razor-sharp wit, laugh-out-loud quips and those blink-and-you’ll-miss-them one-liners, before suddenly turning on the tears and leaving you emotionally winded. The tonal shift is enough to give you whiplash, in the very best way. Of course, material this clever is only as good as its delivery, and director and producer Nik Briggs executes an expert landing. There’s a real affection for the source material here, with every punchline given room to breathe, every emotional beat allowed to settle, and each cast member given the chance to make their mark.
And what a cast it is. Katie Spencer’s razor-sharp Miss Hedge brings plenty of bite, while Roxanne Hall makes her stage debut as Pritti Pasha, Jamie’s quietly assured confidante and cheerleader. Then there’s Hugo, or should I say the fabulous Loco Chanelle? Grant McIntyre brings warmth and a reassuring presence to Jamie’s world, alongside his trio of drag queen accomplices, offering him something he desperately needs: a place where he can dream a little bigger.
But a moment must be given to York Stage favourite Joanne Theaker, whose performance of ‘He’s My Boy’ brings the auditorium to a beautiful standstill, deserving of its own standing ovation. And while those renowned vocals are certainly something to rave about, it’s the heart behind them that really gets you. Whether trading cheeky back-and-forths with best friend Ray (Julie-Ann Smith) or fiercely putting Jamie first, Theaker captures a mother who is doing her very best, even when she doesn’t always get it right. It’s a reminder that Jamie’s journey isn’t his alone; sometimes the people who love us most have their own learning to do.
Visually, the ambitious set, built in-house by Briggs and his construction team, deserves plenty of credit. Revolving stages whisk us from the cosy kitchen of the New family to Victor’s Secret Drag Store, keeping the story moving while giving each location its own identity. It’s an impressive undertaking, relying on careful planning and slick direction, both of which allow the creative vision to shine.
One detail I particularly loved was the bare-walled, tired-looking classroom we first encounter; this against Jamie’s world of colour and confidence is a striking contrast, making the moments when he begins to find his feet feel all the more special.
Dan Gillespie Sells’ musical numbers are given an extra burst of life through A.J. Powell’s fun, fast-paced choreography, with the whole cast bringing the energy. There are moments here that would no doubt trend on TikTok and I found the formations particularly lovely, complemented by Adam Moore’s expert lighting design. The ensemble really is a credit to the production, with special mentions to Mia-Leona Wilson and Lewis Canning’s Levi; both of whom were standouts throughout.
And the party wouldn’t be complete without Jessica Viner and her talented band, bringing these iconic numbers to life with real flair. From the beautiful accompaniment to Theaker’s ‘If I Met Myself Again’ to the full-throttle, non-stop energy of the Act Two opener, ‘Everybody’s Talking About Jamie’, the music is in safe hands. If we’re talking about throwing a party, Viner and company are our reliable hosts.
As with any opening performance, there was the odd hiccup or two, but the cast handled them with ease, occasionally rescuing a moment with a cheeky ad-lib. The sound levels between the accompanying music and soloists could also be more balanced in places. But it’s worth remembering something that can be easy to forget with York Stage: this isn’t a professional production, even if the standard they so often deliver would have you thinking otherwise. And that’s no small achievement. There’s a huge amount of talent, dedication and sheer hard work behind what we see on stage, and it deserves to be celebrated.
Everybody’s Talking About Jamie is about finding your people, embracing who you are and refusing to let anyone else write your story for you. So, as the dark nights begin to draw in, it’s time to step out of the darkness and into Grand Opera House York for a show packed with heart, humour and enough sparkle to brighten even the dreariest evening. It’s a party you don’t want to miss, and everyone’s invited. Now, what are you waiting for?
Everybody’s Talking About Jamie is at the Grand Opera House York untilSaturday 24 October. Tickets start from £14.51 and available here.