I’m a queer boy from a council estate up North, so Jamie and I have that in common
Layton Williams talks about stepping into Jamie’s high heels in the hit musical Everybody’s Talking About Jamie
For people who are new to Everybody’s Talking About Jamie, how would you sum up the storyline?
Jamie is based on a real character who was the subject of a documentary on BBC Three. I remember watching it years ago and it was about him wanting to be a drag queen and wanting to go to the school prom in a dress and how his mum Margaret supported him. When he got there there was all this hoo-hah, the teachers wouldn’t let him in, then something wonderful and unexpected happened. His school mates refused to go in without him. Our story is about a 16-year-old boy who wants to be a drag queen and it’s about his relationship with his parents, including his dad, who he isn’t much in touch with. It’s about Jamie finding himself and his drag persona and, without giving anything away, what happens when he does eventually go to the prom.
What do you see as the key themes?
It’s about acceptance. This is a show for everyone, especially for today. It’s not just for people who are into RuPaul’s Drag Race and stuff like that. The show is about a boy finding his path in life with the help of his close relationship with his incredible mum and her unconditional love for him. It’s about family, friendship, trust and support. There are so many different, relatable characters in it – [laughs] although if you identify with the dad then have a word with yourself! Oh, and there are high heels, high kicks, drag queens, beautiful dresses, feather boas, some fantastic songs and brilliant dancing. It really is fun, funny and fabulous with a lump in your throat and a little tear.
How important is the theme of inclusion to audiences both young and old?
Very important. I get messages from older people who have been helped by the show, whether it’s helped them come out or helped them understand their children better. It does obviously speak directly to the LGBTQ+ youth but it’s not limited to one faction. So many people can relate to being an outcast or feeling different but after seeing the show they’ll feel, to quote one of the songs, there’s a place where they belong. Our director [Jonathan Butterell] said when he was doing the show in Sheffield a guy came up to him, grabbed his arm and said ‘I was Dean once’ – referring to the school bully character. Some people might see the dad and think ‘I was homophobic’ or they’ll go ‘Everybody is celebrating this boy here so why do I have these negative feelings?’ They might get dragged to the theatre by their girlfriends or wives, thinking ‘Oh my God, what have I gotten myself into?’ then hopefully by the end of it their hearts and minds will have been opened and their opinions on things have changed.
What challenges does the role of Jamie present?
Eight times a week I’m having an argument with this person, bonding with that one, having to cry about this, having to cry about that… The rollercoaster of emotions is a lot to navigate. Being 16 years old is hard. I remember being 16 with all those hormones and stuff. There’s the acting side of all that, then there are so many songs. I have to keep my voice tight and right. That’s the difficulty – keeping myself on top form all the time so when I get out on stage I slay it. I want people to have the best experience possible and that means I have to be in full health.
Having played Angel in Rent this isn’t your first time in heels, is it?
No, it isn’t. [Laughs] The heels thing is a doddle now.
Do you know the real Jamie and have you based your performance on him?
Yes, I know Jamie Campbell, he’s a really lovely guy. I re-watched the documentary once I got the part. There are a few things he does, like a few little dance moves, that I’ve put into the show. And I take some of his isms and personality traits. On the surface he might come across as someone who is really confident and fab and out-there, but there’s so much vulnerability to him. That’s something I don’t necessarily have myself. I’m always getting notes from the director about tapping into Jamie’s vulnerability. I try to stay as true to him and his story as I can because I want to do it justice.
Does the show resonate for you on a personal level?
Yes it does. I’m a queer boy from a council estate up North, so we have that in common. Me and my mum have had our moments in the past and sometimes on stage I’m thinking about the things we’ve been through. We always patch things up but families go through stuff. And my upbringing wasn’t rosy. It’s not been the easiest ride but I put it into my art.
What are you most looking forward to about taking Jamie on tour?
It’s about giving people the opportunity to see it who might not necessarily be able to because travelling to London is too expensive. When I was a musical-theatre-loving kid I couldn’t have afforded to get on a train and come to London. We’re bringing the show to a whole new audience and changing their opinions and perspectives and lives, hopefully. I know it sounds super-dramatic when you say it like that but we’re coming to their doorstep telling our story. It’s great that Shane Richie and Shobna Gulati from the West End cast are also with me.
Is there one thing you couldn’t be on the road without?
My suitcases full of outfits and things for my dressing room, like my dolls and cards full of love and my artwork. I have to put them all out so when I come into the room I feel the love and the energy.
How hard do you think it will be to say goodbye to Jamie when the tour ends?
So many people can relate to being an outcast or feeling different but after seeing the show they’ll feel, to quote one of the songs, there’s a place where they belong
I can’t even think about it to be honest. I’ll have been playing this part for a good year and a half and I’ve loved every single second of it. All good things have to come to an end and I’m sure there are many more amazing opportunities waiting for me in the future but this will be something I will never forget. It’s been a life-changing job.
The tour calls at The Alexandra Theatre, Birmingham, from March 16–21.
CARLOS Acosta, the new director of Birmingham Royal Ballet, is setting his sights high for the company. Drawing on his own background as a principal with The Royal Ballet and building on the work of former artistic director Sir David Bintley, he is determined BRB will be a leading light, internationally, nationally and regionally. “Birmingham Royal Ballet has brilliant dancers and I want to share them with the world,” he says. “I want dancers and audiences around the world to know the level of talent we have in Birmingham.”
Carlos aims to invite worldrenowned dancers and choreographers to work with Birmingham
Royal Ballet, ensuring it grows as a company, gains reputation and builds links on the world stage.
“It’s very important to position ourselves as a company with an international profile. We need to bring new teachers to work with the dancers and new stars to perform with the dancers so they can see where they are and can measure themselves up to them.”
His first season sees Birmingham Royal Ballet performing at festivals, taking to the stage at the Royal Opera House, collaborating with other arts organisations, performing classics and new works and nurturing talent for the future.
Born and brought up in the Cuban capital of Havana, Carlos went on to become a ballet superstar, dancing almost every classical male lead and performing on stages worldwide. In 2015 he retired as a principal with
The Royal Ballet and launched the Cuban/British company Acosta Danza. In January of this year he became director of Birmingham Royal Ballet after former artistic director David Bintley retired after 24 years.
2020 is a landmark year for Birmingham Royal Ballet, celebrating 30 years since the company moved to Birmingham. And Carlos is keen to ensure the company is an essential part of the city’s cultural scene.
“We want to collaborate with other dance companies and with other arts organisations,” he says. “It’s really important that we work together to produce new ideas. We need to not stand where we are but to go forward and try to work hard to connect with new audiences so that our art is still relevant.
“We will be opening the doors to the community and doing more shows that are site-specific – on the canal, on parking lots or in warehouses. I want people in Birmingham, maybe people who have never seen ballet before, to claim ownership of whatever we do.
“I am bringing choreographers who have never been seen in Birmingham and bringing world premieres. In the autumn we have a UK premiere by Uwe Scholz and a world premiere by Morgann Runacre-Temple. I’m also positioning us as an ambassador to the city, bringing it to the Royal Opera House regularly, to Sadler’s Wells and on tour.”
At the heart of the new season is the Curated by Carlos festival which will be staged at Sadler’s Wells in London from June 10-13 and then in Birmingham from June 19-27. The
London dates feature the UK premiere of Goyo Montero’s Chacona, which sees Carlos dancing with Alessandri Ferri, and the world premiere of Daniela Cardim’s Imminent as well as exhibitions, debates and panel discussions. In Birmingham, Curated by Carlos forms part of Birmingham International Dance Festival and features the city premiere of Carlos’ Royal Opera House production of Don Quixote, a family fun day, debates – and guest appearances from a robot. “Curated by Carlos will position us with a new beginning and as a company to take risks,” Carlos explains. “We will also be seen as a company which can give good entertainment, throw a great party, bring a robot, bring topics about books and a conference about music while at the same time dancing to the