![](https://images.squarespace-cdn.com/content/v1/5fd698a7fd756c1ce4da94df/d85767dc-f37a-4ee5-8593-2408fb5f5239/ETAJ+Hero+No+Text.jpg)
JUNE 14 - 30
Everybody’s
talking about
JAMIE
BOOK & LYRICS BY
TOM MACRAE
MUSIC BY
DAN GILLESPIE SELLS
FROM AN IDEA BY
JONATHAN BUTTERELL
One of the first productions in the country of the hit new queer musical about the true story of a boy who dreamed of becoming a professional drag queen!
![](https://images.squarespace-cdn.com/content/v1/5fd698a7fd756c1ce4da94df/232510b5-77af-427f-905d-8804d1e41a4c/Jamie+Web+Hero+Image.jpg)
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JUNE 14 - 30
EVERYBODY’S
TALKING ABOUT
JAMIE
BOOK & LYRICS BY
TOM MACRAE
MUSIC BY
DAN GILLESPIE SELLS
FROM AN IDEA BY
JONATHAN BUTTERELL
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PHOTOGRAPHY BY WILSON FREEMAN
Based upon the true-life story of 16-year-old British schoolboy Jamie Campbell, Jamie New is a 16-year-old who doesn't quite fit in. Instead of pursuing a traditional career, he dreams of becoming a professional drag queen. Uncertain about his future, Jamie knows one thing for sure — he's going to be a sensation. Supported by his brilliant, loving mum and surrounded by his friends, Jamie overcomes prejudice, beats the bullies, and steps out of the darkness into the spotlight. Sixteen: the edge of possibility. Time to make your dreams come true.
Everybody’s Talking About Jamie premiered at the Crucible Theatre, Sheffield, on February 13, 2017, directed by Jonathan Butterell. In November 2017, the musical transferred to the West End at the Apollo Theatre, with most of the Crucible Theatre cast returning. 20th Century Studios released its film adaptation of the musical, directed by Jonathan Butterell, on September 17, 2021. Iron Crow Theatre’s production is one of the first in the United States.
“…This heartening tale of extravagant individuality triumphing over claustrophobic conformity is made for the theater.”
— Los Angels Times
“If you put Billy Elliot and Kinky Boots in a blender, you'd probably come up with something like Everybody's Talking About Jamie, a riotous celebration of individuality and drag culture.”
— Entertainment Weekly
“It’s a queer story that is in no way a tragedy…preaches love and acceptance and wants to put a smile on your face while doing so..”
— Theatrely
CAST
BOOK & LYRICS
TOM MACRAE
HE / HIM
ASST. DIR. & MUSIC DIRECTOR
ALLISON BRADBURY+
HE / HIM
STAGE MANAGER
MONIQUE CHAMBERS-SLEDJESKI
SHE / HER
DIRECTOR
SEAN ELIAS*+
HE / HIM
ASST. STAGE MANAGER
LAUREN MARSH
SHE / HER
MUSIC
DAN GILLESPIE SELLS
HE / HIM
CHOREOGRAPHER
ARTHUR CUADROS
HE / HIM
SOUND DESIGNER
THOM J. WOODWARD
HE / HIM
LIGHTING DESIGN
THOMAS P. GARDNER+
HE / HIM
INTIMACY DIRECTOR
SHAWNA POTTER+
SHE / HER
DRAG CONSULTANT
DEVON VAOW
HE / THEY
TECHNICAL DIRECTOR
BRUCE KAPPLIN+
HE / HIM
COSTUME DESIGN
J. ETHAN HENRY
HE / THEY
ASST. COSTUME DESIGN
APRIL FORRER+
SHE / HER
SET DESIGN
CHRIS MILLER
HE / HIM
FROM AN IDEA BY
JONATHAN BUTTERELL
HE / HIM
DIALECT COACH
ANN TURIANO+
SHE / HER
AUDIO ENGINEER
JJ. NICHOLS
THEY / THEM
+ denotes Iron Crow Theatre Resident Artist
* denotes Member, Actors’ Equity Association. The professional union for actors and stage managers in the United States.
CREATIVE TEAM
DEAN PAXTON/JAMIE’S DAD
JAKE STIBBE
BECCA
WHITNEY CHANTÈL
BEX
KILEY ERNEST
SAYID
MICHAEL CHRISTOPHER
HUGO/LOCO CHANELLE
NICHOLAS MILES+
PRITTI
COURTNEY SIMMONS
MARGARET NEW
HANA CLARICE+
MISS HEDGE
ISABELLE PICKERING
RAY
ASIA-LIGÉ ARNOLD+
FATIMAH
ALLISON FARRALL
JAMIE NEW
BRADLEY ADAM STEIN
LEVI
ADRIAN GRAHAM-CHESNAVAGE
TRAY SOPHISTICAY
STEPHEN A FOREMAN
LAIKA VIRGIN
GARRETT MATTHEWS
SANDRA BOLLOCK
VICKI
LIZ GUTRIDGE
CY
MATEEN KANE
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PHOTOGRAPHY BY WILSON FREEMAN
+ denotes Iron Crow Theatre Resident Artist
JAMIE NEW
BRADLEY ADAM STEIN
MARGARET NEW
HANA CLARICE+
PRITTI
COURTNEY SIMMONS
HUGO / LOCO CHANELLE
NICHOLAS MILES+
RAY
ASIA-LIGÉ ARNOLD+
MISS HEDGE
ISABELLE PICKERING
DEAN PAXTON / JAMIE’S DAD
JAKE STIBBE
BECCA
WHITNEY CHANTÈL
BEX
KILEY ERNEST
FATIMAH
ALLISON FARRALL
VICKI
LIZ GUTRIDGE
SAYID
MICHAEL CHRISTOPHER
LEVI
ADRIAN GRAHAM-CHESNAVAGE
CY
MATEEN KANE
LAIKA VIRGIN
GARRETT MATTHEWS
TRAY SOPHISTICAY
STEPHEN A FOREMAN
SANDRA BOLLOCK
CREATIVE
Interested in being a part of our next hit musical? Click here to introduce yourself!
BOOK & LYRICS
TOM MACRAE
HE / HIM
MUSIC
DAN GILLESPIE SELLS
HE / HIM
FROM AN IDEA BY
JONATHAN BUTTERELL
HE / HIM
DIRECTOR
SEAN ELIAS+
HE / HIM
ASST. DIR. & MUSIC DIRECTOR
ALLISON BRADBURY+
SHE / HER
CHOREOGRAPHER
ARTHUR CUADROS
HE / HIM
STAGE MANAGER
MONIQUE CHAMBERS-SLEDJESKI
SHE / HER
ASST. STAGE MANAGER
LAUREN MARSH
SHE / HER
LIGHTING DESIGN
THOMAS P. GARDNER+
HE / HIM
SET DESIGN
CHRIS MILLER
HE / HIM
COSTUME DESIGN
J. ETHAN HENRY
HE / THEY
ASST. COSTUME DESIGN
APRIL FORRER+
SHE / HER
INTIMACY DIRECTOR
SHAWNA POTTER+
SHE / HER
DIALECT COACH
ANN TURIANO+
SHE / HER
TECHNICAL DIRECTOR
BRUCE KAPPLIN+
HE / HIM
SOUND DESIGN
THOMAS J. WOODWARD
HE / HIM
AUDIO ENGINEER
JJ NICHOLS
THEY / THEM
Building upon the resounding success of our groundbreaking, history-making, and record-shattering production of RENT, the Season of the Unorthodox continues! We’re making history again as one of the first theaters in the nation to produce the hit new queer musical for today, Everybody’s Talking About Jamie!
Ever since my introduction to this musical in 2018, I knew Iron Crow Theatre had to be the theatre to bring it to life here in Baltimore. Everybody’s Talking About Jamie is a rare gem in the realm of contemporary queer musicals; it’s both familiar and fresh, nostalgic and forward-thinking. It’s immediate, meaningful, and relevant - exactly how musicals should be!
Beyond the array of roles available to a diverse cast spanning age, religion, and race, what truly resonated with me was the groundbreaking portrayal of drag culture as a legitimate professional pursuit. This musical boldly breaks barriers, offering a unique and unprecedented celebration of drag that is as empowering as it is dazzling. No longer is drag simply presented a gimmick, a ploy, or for laughs - but rather with full heart.
Without you, our audience and supporters, Iron Crow Theatre, could not exist. Thank you for supporting queer theatre and small professional theatre here in Baltimore. I promise you that it means so much to so many here in Maryland and across the country: those we love and those we’ve lost.
Warmly,
Sean Elias, M.A., B.F.A.
Director, Everybody’s Talking About Jamie
Artistic Director, Iron Crow Theatre
“…what truly resonated with me was the groundbreaking portrayal of drag culture as a legitimate professional pursuit. This musical boldly breaks barriers, offering a unique and unprecedented celebration of drag that is as empowering as it is dazzling.”
— SEAN ELIAS
Director, Everybodys Talking About Jamie
RUN TIME:
Approximately 2.5 hours, including a 15-minute intermission.
CONTENT:
The production includes sexual themes, jokes, and undertones, kissing, and simulated violence. The production design includes the use of loud sound effects, haze, and bright, strobing, reflective lighting.
Baltimore Theatre Project
45 West Preston St.
Baltimore, MD 21201
SUNDAY, JANUARY 21
Iron Crow Theatre is honored to partner with Free State Justice, Maryland’s leading state-based non-profit, working to improve the lives of Maryland’s LGBTQ+ communities through free legal services, legislative advocacy, and education and outreach programs. Join us during pre-show for a special conversation on decriminalizing HIV with special guest Delegate Kris Fair in partnership with FreeState Justice.
FRIDAY, JANUARY 26
This date marks the 28th anniversary of the first performance of RENT at New York Theatre Workshop which is also the day after Jonathan Larson tragically passed away. Join us for a Seasons of Love Sing-Along after the show to honor Jonathan Larson’s legacy. Lyrics provided.
SUNDAY, FEBRUARY 4
This date marks what would have been Jonathan Larson’s 64th birthday. Join us pre-show for a special Happy Birthday Sing-Along for Jonathan and after the show for one final Seasons of Love Sing-Along to honor Jonathan Larson’s legacy and the closing night of RENT. Lyrics provided.
THE NATIONAL AIDS MEMORIAL
Iron Crow Theatre is honored to have received special permission to display a block of the National AIDS Quilt in our lobby and to be a supporter of the National AIDS Memorial’s efforts to bring the Quilt to communities across the United States to raise greater awareness and education about HIV/AIDS and to remember those lost to the AIDS pandemic.
WHOSE STREETS? OUR STREETS!”: NYC 1980 - 2000
New York City streets were turbulent and often violent as residents responded to the AIDS epidemic and social changes in their city, as well as to national and international developments. What began as part of our production’s dramaturgical research has now been brought to life in the Baltimore Theatre Project’s gallery through a partnership with the Rochester Institute of Technology. 37 photographers documented ordinary New Yorkers as they rallied, marched, and demonstrated. The exhibition was curated by Tamar W. Carroll, Meg Handler, Mike Kamber, and Josh Meltzer.
“Turn Anger, Fear, Grief into Action”: ACT UP New York
The early years of the HIV/AIDS epidemic were marked by uncertainty, false information, and fear about the cause and transmission of the disease. Though it is likely that IV drug users were dying of AIDS in New York City in the 1970s from what was then known as “junkie pneumonia, (Pneumocystis), AIDS came to medical attention in the United States in 1981 when otherwise healthy gay men in New York and San Francisco contracted Kaposi’s sarcoma, an unusual form of skin cancer that caused purple skin lesions. Although evidence showed that others exhibited the same symptoms as gay men, scientists termed the syndrome Gay-Related Immune Deficiency (GRID), leading to the linkage of the disease with homosexuality and dramatically increasing the stigma surrounding it.
Homophobia, along with rising economic inequality, shaped public responses to the unfolding epidemic. Frightened parents tried to keep kids with AIDS out of public schools, while city officials closed bathhouses and other meeting places for gay men. People with AIDS suffered from social isolation, including the loss of homes, jobs, and relationships with partners or family members. Despite having roughly half of the country’s reported cases, New York City did not mount a systematic response to the emerging epidemic. Patients experienced stigma and neglect in the city’s health care system. Some private hospitals, overwhelmed by the rapidly increasing numbers of patients, and sensitive to the general public’s fears of the spread of the disease, began refusing to admit AIDS patients; hospitals that did admit them, especially public institutions, had too few resources to care for them properly. AIDS activist Keith Cylar recalled, “New York City literally had hospital gridlock and that was when they were keeping people out on hospital gurneys in the hallways. That was when people were not being fed, bathed or touched. It was horrendous.” Volunteer groups such as the Gay Men’s Health Crisis (formed in 1982) took on caring for and housing AIDS patients.
The AIDS Coalition to Unleash Power (ACT UP), a direct-action group founded in 1987 after a fiery speech by playwright Larry Kramer, used stunning visual art, spectacular street theater, and civil disobedience to draw attention to government inaction and the need for effective treatment and prevention to end the AIDS epidemic. The organization targeted both medical and public health authorities, the pharmaceutical sector, and the financial industry, demanding faster drug development and testing, and more affordable drug pricing. ACT UP also targeted the media for their inaccurate portrayal of the epidemic and who was at risk, luxury real estate developers like Donald Trump for exacerbating homelessness, and city hall for its failed response to the epidemic.
ACT UP’s membership included artists and designers, some of whom had extensive experience in marketing, and they created iconographic images including the Silence = Death Project, which urged viewers to “turn anger, fear, grief into action” on AIDS. Other members were veterans of prior social movements including the civil rights and feminist peace movements, and orchestrated elaborate civil disobedience actions, such as disrupting trading on Wall Street and occupying the Food and Drug Administration headquarters. Photographer Thomas McGovern recalled covering ACT UP protests, and the ways in which they were strategically planned to ensure they would be documented and disseminated to a much broader audience via the media. Like ACT UP itself, McGovern hoped to change the public’s perception of people with AIDS through his portraiture, “showing the horrors of what people with AIDS suffered through politically and medically,” but also, “celebrating people’s strengths and the indomitable human spirit.”
ACT UP’s legacy includes many tangible policy accomplishments, including making experimental drugs more widely accessible at a time when no effective drug treatments for HIV/AIDS had been approved (and would not be until the mid-1990s). The group also brought together formerly isolated gay men and allies and provided life-affirming support at a critical time. Perhaps the group’s most consequential accomplishment of all, though, was indeed changing the public’s perception of HIV/AIDS. No longer sinners deserving of their fate, as some conservative religious leaders had suggested, the public came to see instead that “All People With AIDS Are Innocent.” Like McGovern’s photographs, Johathan Larson’s Rent shared in that worthy effort.
— Dr. Tamar Carroll, Ph.D.
Rochester Institute of Technology
This essay is adapted from Tamar W. Carroll, Mobilizing New York: AIDS, Antipoverty, and Feminist Activism (Chapel Hill: University of North Carolina Press, 2015) and www.whosestreets.photo. See also https://actuporalhistory.org/.
Image: Manuscripts and Archives Division, The New York Public Library. “Silence = Death [Poster]” The New York Public Library Digital Collections. 1986. https://digitalcollections.nypl.org/items/510d47e4-1035-a3d9-e040-e00a18064a99
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