‘Billy Elliot’ shines
Broadway in Chicago presents |
Billy Elliot: The Musical |
Book and lyrics by Lee Hall, music by Elton John Directed by Stephen Daldry At the Ford Center for the Performing Arts, Oriental Theatre Open run (more info) |
Reviewed by Leah A. Zeldes
After four Laurence Olivier Awards, ten Tony Awards and ten Drama Desk Awards, you don’t need me to tell you that Billy Elliot: The Musical is worth seeing. Time Magazine also named it the "Best musical of the decade," an assessment I don’t agree with — my vote goes to Urinetown — but I will say Billy Elliot has everything a good musical ought to have: Fine music, outstanding choreography and a heartwarming, if clichéd, story full of triumphs and pathos.
Having opened in London in 2005 and on Broadway in 2008, the acclaimed musical has finally come to Chicago, where a stellar cast does it full justice.
Based on Lee Hall’s screenplay for the 2000 film, the plot is one we’ve seen many times before — a talented youth, dancing to his own drummer, beats the odds and makes doubters accept him on his own terms.
In this case, it’s 11-year-old Billy Elliot, son of a British miner, amid the devastating 1984 Coal War in which labor lost its fight against Margaret Thatcher’s conservative government, destroying the miners’ union and all but ending coal mining in the U.K. Billy’s mother is dead; his grandmother is senile; his dad and older brother, Tony, are on strike, along with most of the men in their town; money is short and tempers are flaring. Sent to boxing class, Billy accidentally stumbles into a girls’ ballet lesson and discovers a love and talent for dancing — outraging the men in his life.
It’s a rollercoaster of a story, full of contrasts, at turns funny and sad, raucous and refined, exultant and despondent. Politics, class consciousness, the role of the arts vs. sports, sexual identity all come together, sometimes clashingly. If the bitter defeat of the strike seems an odd match for the bright jubilation of Billy’s triumph, well … it’s a musical.
Peter Darling’s dazzling choreography makes the most of the juxtapositions, as in the brilliantly effective sequences of warring police and angry strikers interspersed with little girls in tutus.
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Performed by a first-rate orchestra, led by Colin Welford, Elton John’s score, with lyrics by Hall, also brings us some startling contrasts. It runs the gamut from cheerful music-hall ditties to rousing anthems to sad ballads, from joyous to silly to angry, sometimes even in the same song. In an excellent example, one of the few solos, "We’d Go Dancing," Billy’s grandmother — a splendid performance by Cynthia Darlow — recalls her unhappy married life.
On the silly side, we get "Expressing Yourself," a strange sequence in which Billy and his transvestite friend, Michael (played alternately by Keean Johnson and Gabriel Rush), don women’s clothes and then dance with giant headless dresses.
Then there’s the pure joy of "Electricity," Billy’s paean to dancing.
A rotating cast of four boys plays Billy. On opening night, 13-year-old Cesar Corrales showed dazzling talent as a dancer and actor. A breathtaking pas de deux with his older self (onetime Joffrey dancer Samuel Pergande) deservedly drew a standing ovation on opening night.
We also see excellent moves from Emily Skinner as Mrs. Wilkinson, Billy’s pushy ballet teacher, and Blake Hammond as Mr. Braithwaite, her grotty accompanist.
No one in this ensemble puts a foot wrong.
Rating: ★★★½ |
This musical contains adult language some parents may consider unsuitable for children.
Filed under: 2010 Reviews, Broadway in Chicago, Leah A. Zeldes, Musical, National Tours, Oriental Theatre (Ford) | Tagged: 1984 Coal War, Abby Church, Alexandra Dell-Edera, Angela Morrison, Annelise Ritaaca, Armand Schultz, Billy elliot Broadway review, Billy Elliot Chicago review, Billy Elliot review, Billy Elliot the Musical, Blake Hammond, Brionna Trilling, Brittany Nicholas, Cesar Corrales, Christine DeFilippo, Cindy Benson, Cynthia Darlow, David Chase, David Furnish, Elijah Barker, Elton John, Emily Richardson, Emily Skinner, Eric Fellner, Faith Fetscher, Gabriel Rush, Giuseppe Bausilio, Ian MacNeil, Jaclyn Taylor Ruggiero, Jamie Torcellini, Jason Babinsky, Jim Ortlieb, John Peter Viernes, Jon Finn, Julian Webber, Kate Marilley, Kayla King, Kayla Vanderbilt, Keean Johnson, Kent M. Lewis, Lee Hall, Madison Barnes, Margaret Thatcher, Maria Connelly, Mark Page, Martin Koch, Mason Roberts, Matt Allen, Michaeljon Slinger, Mitch Poulos, Nicholas Torres, Nicky Gillibrand, Nina Lannan Associates, Oriental Theatre, Patrick Mulvey, Paul Arditti, Peter Darling, Rick Fisher, Ryan Bauer-Walsh, Ryan Kasprzak, Sally Greene, Samuel Pergande, Sara Brians, Spencer Milford, Stephen Daldry, Susan Haefner, Susie McMonagel, Tim Bevan, Tommy Batchelor, Tony Clarno, Will Nann | 6 Comments »