{"id":4009,"date":"2018-03-01T08:00:00","date_gmt":"2018-03-01T08:00:00","guid":{"rendered":""},"modified":"2021-09-24T19:53:51","modified_gmt":"2021-09-24T19:53:51","slug":"everybodys-talking-about-jamie-in-londons-west-end-why-tho-html","status":"publish","type":"post","link":"https:\/\/laughfrodisiac.com\/2018\/03\/01\/everybodys-talking-about-jamie-in-londons-west-end-why-tho-html\/","title":{"rendered":"\u201cEverybody\u2019s Talking About Jamie\u201d in London\u2019s West End: Why Tho?"},"content":{"rendered":"

\"Picture\"<\/a><\/span><\/p>\n

\u200bIt’s important to have queer stories, but I don’t think you should get points just for ticking a box — they actually have to be good. With \u201cMoonlight\u201d, a film about not only gay characters but black<\/em> characters winning the Oscar last year (despite the Academy being old white men) (and despite the incredible initial mixup), and with \u201cCall Me By Your Name\u201d up for awards this weekend, our entertainment culture has maybe? hopefully? finally reached the point where it\u2019s not enough to have token minority characters or storylines; they also have to be interesting, imaginative, and worthwhile too. And done with respect. I don’t think any form of inclusivity that seems done just for brownie points should be lauded as the pinnacle of inclusivity. In London right now, however, you still get the points for a paint-by-numbers queer story even if it\u2019s super thin and amateur. Because everybody is indeed talking about \u201cJamie\u201d, the new London musical, and Brits are loving it, but it is\u2026how do I say\u2026not very good.<\/div>\n
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<\/div>\n
Like I said, literally everyone else adores it. And it has a lot of the kind of fun that mass crowds love in things like “Mamma Mia!” – you know, the bright, loud, danceable shows. No one is bothered if the dialogue is cringey or the songs are uninspired if everyone is bopping in their seat. But I am, because I am always waiting for a great British score and, well, I’m still waiting. With the exception of Tim Minchin\u2019s scores (the superb \u201cMatilda\u201d, \u201cGroundhog Day\u201d), British musical theatre has been in trouble since, well, Andrew Lloyd Webber\u2019s heyday. That\u2019s a long time to go with nothing of true substance to show for it. Oh I\u2019m sorry, I forgot that in that time frame of literal decades of dreck was Elton John\u2019s \u201cBilly Elliot\u201d score. Okay so Tim Minchin, Webs, and Elton John. I guess all the promising writers went to Broadway. And to think people are surprised when I explain that Broadway is on a whole nother playing field to the West End when it comes to musical theatre. I know it sounds mean but tell me what British-born original musical of the last decade or two has been of the high quality you would expect from one of the greatest theatre cities in the entire world. Because of this draught, I was so pumped for \u201cEverybody\u2019s Talking About Jamie\u201d because all I saw were rave reviews and I REALLY wanted London to have a great original musical finally that wasn\u2019t a Broadway transfer. I wanted to fall in love with a brand-new score and listen to it until I memorized it and wait eagerly for it to go to Broadway. But this score is not that.<\/div>\n
\n

While it is outwardly fun — like there are bright colors and happy tunes and people dancing so the masses will be more than satisfied — and it is great to have the representation like this on such a stage and scale, I was just so unimpressed with the actual bones of the show. I wish I loved it, because it’s such a great story and it’s so important to show to people, especially young boys who identify with Jamie. I just wish such a great opportunity for representation came with quality writing.<\/p>\n

It\u2019s impossible not to compare this show to \u201cKinky Boots\u201d. \u201cJamie\u201d, to me, is about a production team that saw the enormous success of \u201cKinky Boots\u201d all over the world and thought, \u2018Hey, it seems that people really love stories about boys that don\u2019t fit the traditional mold of masculinity, and the psychology that informs their decisions and how it affects the NOPE WAIT IT\u2019S JUST ABOUT BOYS DRESSING UP AS GIRLS THAT\u2019S IT WE WILL DO THAT!\u2019 There was such potential in developing stories inspired by such departures from traditional male roles, but instead they seemed to mine the most asinine humor from it with a sort of baseline effort.<\/p>\n

\u201cJamie\u201d is about a teenage boy named Jamie who is living in a small English town where the accents are such that everyone pronounces his name \u2018Jeh-meh\u2019 and he is wayyy toooo faaaabulous for it. He wants to be a drag queen, and his loving but one-dimensional mother supports him, and his classmates and friends seem to find it cool, except for one of the typical asshole boys who thinks he is macho but is really obviously fragile in his masculinity. And his absentee father doesn\u2019t approve but he was never really in his life or wanting to be. Okay, cool, Jamie, go be a drag queen, you are beautiful so you will be great at it. This is all clear in the first five minutes, though, and it’s very formulaic. Even formulaic setups could make great shows if they are handled well, but the remaining hours of the show feel just like filler, and on an amateur level. They fill it with the local drag shop (I\u2019m sorry, what towns in rural England have entire shops for drag queens?) run by a great drag queen from the past named Loco Chanelle, a really low-effort drag name, who sings a very, VERY unnecessary and cringe-worthy song about his past and how he killed his lover maybe??, and it gets a goddamn REPRISE??? They fill it with a stern, annoying teacher who has a serious problem with Jamie\u2019s breaking out of the straight lines she wants boys and girls to stay inside. Her outdated beliefs are only a tiny bit easier to believe than the fact that a school teacher in a tiny town has Christian Louboutin heels, another thing that is mentioned ostensibly to help the writers reach their word limit. And they fill it with bad music.<\/p>\n

I hate writing this, because I do like liking things, and I want to love everything musical theatre so badly. <\/em>Even with a lackluster book, if a show has fun or lovely or even just original music, that\u2019s a win. But this score is complete cringe. The trite, derivative lyrics stick in your head, so it has that going for it. There\u2019s the title song, where everyone jumps around like they\u2019re at a rave and yells \u201cEverybody\u2019s talking about Jamie! Everybody\u2019s talking about Jamie! Everybody\u2019s talking about Jamie!\u201d The melody is exactly how you are imagining it. I don\u2019t even know if that song had other lyrics. The opening number, the one that has to set the tone for the whole show, is called, \u201cAnd You Don\u2019t Even Know It\u201d, and it just says a phrase and then repeats \u201cAnd you don\u2019t even know it\u201d over and over and over. \u201cYou\u2019re a star! And you don\u2019t even know it! Mini bar! And you don\u2019t even know it!\u201d Okay I made that last lyric up but you get the picture. I LOVE loved (sarcasm) the big \u2018I Want\u2019 number of the show, called \u201cSpotlight\u201d, where Jamie\u2019s classmates sang of him \u201cOut of the darkness, into the spotlight, out of the darkness, into the spotlight.\u201d In that one was the part when I realized \u2018ohhh this is going to be terrrrible\u2019 — when the female classmates were sitting at a table doing the cups thing from ‘Pitch Perfect’ to the melody, the stupid thing you learn at summer camp when you\u2019re little and somehow Anna Kendrick made cool? Anyway, the girls were doing that as accompaniment and my eyes got stuck in the back of my head. Then, ohh man, my favorite, the big runway catwalk number called \u201cWork of Art\u201d where everyone sang of Jamie (I\u2019m sensing a redundant theme) about how he\u2019s a work of art: \u201cMona Lisa isn\u2019t she sir, work of art\u201d was one lyric that I almost screamed at. I just…listen, not everything has to have Sondheim-level lyrics, but at least some effort would be appreciated.<\/p>\n

Oh my real favorite part was when the mother had one of her hackneyed ballads about how she would do things differently if she met herself again (title of song: \u201cIf I Met Myself Again\u201d picture 1000 eye roll emojis) and I SHIT YOU NOT, two dancers were BREAKDANCING during it. DURING A SAD BALLAD. It wasn\u2019t ballet-like emotional dancing to the slow music; it was literally breakdancing to a nonexistent rhythm as though someone somewhere were scratching a record and Jason Mendoza was patiently waiting for the beat to drop but it never would. I looked around me in the darkness for the Punk\u2019d cameras. I have never been so flabbergasted at direction choices. Man alive.<\/p>\n

The only real conflict is for Jamie to get enough nerve to go onstage in his dress and not let the stupidest kid in school or the father that abandoned him get to him. That this super-confident, quick-witted boy would waste a moment thinking about what the mean boy in school thought of him was hard to believe, but okay, everyone has bullies in high school and it’s hard to deal with. But is this so-tiny-it\u2019s-hard-to-even-call-him-a-minor-character really<\/em> the only source of external conflict? To make up for that, Jamie fights with his mother for no good reason, and his mother sings a song about how he’s her boy (called “He’s My Boy”) and the audience was supposed to cry but it was forcing drama onto a cotton candy cloud that vanished into thin air as soon as pressure was applied to it.<\/p>\n

Almost every character was stereotyped and lacking any semblance of nuance. I couldn’t believe that this show got this far without people editing it to bring it into the best shape possible. Or at least shape enough to run around the block. Only one character wasn\u2019t completely clich\u00e9d and stereotyped, because it is one of the first appearances of such a character in musical theatre. Jamie\u2019s best friend is a Muslim girl named Pritti (played by Lucie Shorthouse) who wears a hijab. As far as I know this is new, and this is\u00a0 minority representation this show deserves to be commended for. Lucie is the only character that gets to shine, aside from Jamie. She gets the one song in the show that didn\u2019t make me want to tear my hair out, called \u201cIt Means Beautiful\u201d, about the Arabic equivalent of the name Jamie. It\u2019s not a great melody and the lyrics don\u2019t live up to the nice sentiment that gives rise to the song (i.e., Pritti telling Jamie that he is indeed beautiful and look Arabic proves it), but still, it was decent. Lucie unfortunately does annoying popstar styling with her voice throughout the song, where she kind of catches the sound during held notes (something the director, if he exists, should have stopped) but she is really talented.<\/p>\n

And Jamie himself shines bright. John McCrea has real star quality shining through even this pile. He stands out physically, a lithe, otherworldly-blonde, pale young man who regularly shows off how incredibly flexible he is. He manages to imbue the dullness with pops of vigor here and there, usually by doing an impossibly high kick in heels. He delivers one of the only lines that made me laugh \u2013 a bit where he\u2019s trying to climb out the bathroom window and the mean teacher asks what he thinks he\u2019s doing and he says \u201c\u2026Parkour??\u201d That actually cracked me up. I hope that John gets a role in the future that is actually worthy of his talent.<\/p>\n

Although I\u2019m pretty sure he\u2019s happy with this one. Everyone seems to be loving it.<\/p>\n

Aside from the horrendous, actively bad score, the book is a mess as well. There is way too much of everything (so much attention to the drag queen, the teacher, the father, the friends) and yet not enough of those things to make it worthwhile, no real sense of understanding what they are trying to accomplish. And as if this storyline didn\u2019t feel straight out of 1992 enough, there are outdated jokes peppering the book scenes, like talk of how all Kim Kardashian does is wear heels. It\u2019s so low-effort.<\/p>\n

\u200bOH so part of the nonexistent conflict is that the mean boy calls Jamie a \u2018minger\u2019 and Jamie is destroyed<\/em> by it. So I had no idea what that meant, but I knew it was bad because it was basically the only real drama. Non-British people will likely not understand that part when they see it, but they are going to hate it anyway so whatever. So after the show I text my English friend \u201chey what does minga mean\u201d because see I heard it with the accent, and she pretty much died laughing. She explained that it\u2019s a very British way of calling someone skanky, like so skanky that no one would ever want to sleep with them. I thanked her for explaining it and then threw a glass at the wall in my fury over a musical basing all of its conflict over something so trivial as a boy calling another boy this word, as if Jamie, our unstoppable protagonist, would actually care that this idiot football player called him that.<\/p>\n

Luckily the end sucked, with redemption of the white male asshole because who doesn\u2019t love forgiveness that isn\u2019t deserved. At least I guess we should try to redeem asshole children, who still have a chance to do some good, but I\u2019m pretty sure that kid is going to remain a jerk forever. I\u2019m angry that this disappointing show dragged (no pun intended) for almost three freaking hours. This isn\u2019t \u201cLes Mis\u201d, people! And I\u2019m angry and uncomfortable that a show that is professing to fill the niche of queer and inclusive art can still manage to be so sexist. There\u2019s very often that unspoken but obvious thought that \u2018we can\u2019t be sexist towards women; we\u2019re gay!\u2019 and it\u2019s definitely happening here. Its treatment of gender says while men like Jamie can cross gender lines and break down barriers, women shall remain in their supporting positions of the men around them. You may be thinking that there\u2019s not a lot of good they can do for the women when this is a story about this one boy, but they manage to do a whole lot of bad, so. The girls in his school face a constant barrage of sexism from the male classmates, from being shown dicks they don\u2019t want to see from dicks they don\u2019t want to bother with, to being harassed with talk about how the boys will \u2018drill\u2019 them (they say \u2018drilling\u2019 a lot) whenever they want. And it\u2019s a total Law & Order: SVU situation: The treatment is obviously bad, but it\u2019s there not to serve as an example of bad behavior, but to serve as an example of what is considered normal. That pisses me off and it\u2019s dangerous to include it in the show\u2019s world as unnecessary examples of normalcy.<\/p>\n

When the last musical assault on my ears and brain ended, the entire audience shot up to their feet quicker than I\u2019ve ever seen. I guess when all the modern original musical work in your country is kind of on this level, you don\u2019t expect, or get, any better.<\/p>\n

AUDIENCE<\/strong>
\nThe two old ladies in front of me were brushing their hair. One fumbled around her purse during the opening number, brought out a big brush, and brushed her hair, probably 100 strokes. Then she gave it to her friend. I can’t with people.<\/p>\n

The best part of this show was the bubble tea I got next door afterwards.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

\u200bIt’s important to have queer stories, but I don’t think you should get points just for ticking a box — they actually have to be good. 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