There’s an infectious buzz radiating through Derby Theatre this week as Kristian Thomas Company brings Everybody’s Talking About Jamie to life in a production bursting with passion, energy and unapologetic flair. From the opening number, it’s clear that this is a company that knows how to entertain — and how to move an audience.
Everybody’s Talking About Jamie began life as a documentary — Jamie: Drag Queen at 16 — which told the true story of Jamie Campbell, a teenager from County Durham who dreamed of attending his school prom in a dress. Inspired by this tale of courage and self-expression, the musical premiered at Sheffield’s Crucible Theatre in 2017 before transferring to London’s West End, where it became an instant hit thanks to its infectious pop score by Dan Gillespie Sells and witty, heartfelt book and lyrics by Tom MacRae. The show follows sixteen-year-old Jamie New as he navigates the challenges of adolescence, prejudice, and self-doubt in a working-class northern town, determined to follow his dream of becoming a drag queen. Along the way, he finds strength in his mother’s unconditional love, guidance from retired drag performer Hugo, and friendship from his classmate Pritti, as he learns to step proudly into the spotlight and be unapologetically himself.
Director Alysha Gomes and Assistant Director Tom Samuels steer the show with confidence and verve, ensuring that every member of the cast feels part of a vibrant, living world. The result is a production that thrives on its ensemble strength. From start to finish, the hardworking company delivers crisp choreography (by Chloe Hopcroft and Sam Holden) with precision and polish — no small feat given the show’s demanding routines and quick transitions. The group numbers fizz with life, particularly in the Act 2 opener, which, under Charlotte Daniel’s musical direction, becomes an electrifying highlight. It’s genuinely one of the most effective stagings of this number I’ve seen, across both amateur and professional productions.
At the centre of it all is Kristian Cunningham as Jamie New, exuding the camp, confidence and charisma the role demands. Cunningham brings a playful energy to Jamie’s rebellious spirit, with sharp comic timing and some impressive dancing. His performance captures both the humour and the vulnerability of a teenager determined to step into the spotlight on his own terms.
As Jamie’s mother, Kate Williams is a true standout. Her warm, emotionally grounded portrayal anchors the show’s heart, and her vocal performance is superb — particularly in “He’s My Boy,” which she delivers with tenderness and restraint that draws audible sniffles from the audience. The chemistry between Williams and Cunningham ensures that the show’s emotional core feels completely authentic.
Louise Grantham-Lang’s Ray provides a perfect contrast, injecting scenes with sass and warmth in equal measure. Her comic timing is spot on, and she lights up the stage whenever she appears. Soleil Quarless’s Pritti Pasha is beautifully understated, offering both sensitivity and strength. Her vocals are stunning — clear, heartfelt and utterly captivating — making “It Means Beautiful” one of the most moving moments of the night.
As Hugo/Loco Chanelle, David Covey commands the stage with poise and confidence. His vocals are excellent, and he navigates the character’s dual identity with nuance — switching effortlessly between drag glamour and mentor figure. It’s a performance that brings genuine gravitas to Jamie’s journey. Meanwhile, Tom Samuels delivers a sharply observed and venomous Dean Paxton, the school bully whose sneering remarks and swagger are pitched perfectly to contrast Jamie’s optimism.
The supporting cast and ensemble deserve huge credit for maintaining energy levels throughout. Whether playing classmates, prom-goers or backing vocals, their collective presence never wavers. The choreography is executed flawlessly, packed with synchronicity and flair — a testament to the hours of rehearsal that have clearly gone into this production.
Visually, the production is both inventive and ambitious. The set, designed around a moving screen backdrop with integrated video by Matt Powell (assisted by Ryan Watson), works impressively for an amateur production. It adds dynamism and pace, enhancing scenes like the school prom and Jamie’s drag debut. Occasionally, the motion or visual detail draws attention away from the live performance, but more often than not, it complements the action and gives the show a professional sheen.
Technically, Stephen Greatorex’s lighting and Harry Greatorex’s sound design support the production seamlessly, while the costumes and wigs — under Amy Wicks and Beth Crew — are fabulously bold, adding a pop of glamour to the drag sequences.
If there’s one minor critique, it’s that the sense of time and place can sometimes blur — the production’s temporal setting occasionally feels a little unclear. But this is a small quibble in what is otherwise a remarkably cohesive and confident piece of direction.
Overall, Kristian Thomas Company’s Everybody’s Talking About Jamie is a triumph of energy, inclusivity and sheer theatrical joy. It’s vibrant, camp, heartfelt and unapologetically fun — everything Jamie should be. The audience left grinning, clapping, and, yes, talking about Jamie.
Everybody’s Talking about Jamie plays at Derby Theatre until Saturday 1st November 2025.
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