Max Harwood

In Everybody's Talking About Jamie (2021), Harwood carries the brighter numbers while leaving Jamie New's vulnerability visible. We enjoy the confidence because he never makes it seem quite secure. Jonathan Butterell's musical asks us to share a young person's pleasure in drag, and Harwood supplies enough enthusiasm to make that invitation appealing. He is a good reason to watch a film whose songs and writing are less reliable.

Sarah Lancashire, playing his mother Margaret, is the most valuable partner here. Her quieter warmth allows the film to ease off the encouragement and spend some time on what Jamie needs from another person. We were moved by her singing because Margaret's care feels meant for this particular child, rather than everyone in the audience who might need reassurance. Harwood lets Jamie need that kindness without losing the exuberance that makes him enjoyable company. Their scenes give us a reason to care that the weaker numbers cannot provide on their own.

This was Harwood's screen debut, an assured start rather than a reason to forecast an entire career. He followed it as Oliver, the lead in the horror-comedy The Loneliest Boy in the World (2022). His television work includes Julian in the Black Mirror episode 'Joan Is Awful' (2023). Those parts take him beyond the musical lead, though Jamie remains the performance we can most firmly recommend.

The caution is about material. Tom MacRae's screenplay makes Jamie's opponents too easy to dismiss, and some of the songs sound much alike; Harwood gives the enthusiasm enough feeling to carry us through these stretches. We would like to see him given resistance that requires more of him, because the sense that his confidence can be wounded is what makes this performance worth following. For an introduction, choose Everybody's Talking About Jamie and forgive it a few ordinary songs.