✭✭✭✭✭

by music by Elton John, book and lyrics by Lee Hall, directed by Stephen Daldry

Working Title Films, Victoria Palace Theatre

May 11 2005-April 9, 2016

“One of the Greatest British Musicals”

I had wanted to see BILLY ELLIOT since it first opened but never could fit it in or get seats as close as I’d like.  Learning that it would not be coming to North America for some time, I thought we should make a point of seeing it this time.  It really is one of the greatest British musicals and deliberately revels in gritty realism in contrast to the quasi-operatic fantasies of Andrew Lloyd Webber.  It is also Elton John’s best score, precisely in tune with the the working-class people on stage and avoiding the generic syrupiness of The Lion King or the depressing superficiality of his Aida. 

Far too many musicals based on films attempt to recreate well-known scenes from the film on stage with little concern for what does or does not work in the theatre.  Lee Hall, writer of the book and lyrics, and, Stephen Daldry, director of the musical and the film, however, have completely re-imagined their 2000 film for the stage so that it functions successfully without any knowledge of the film and consistently makes its points theatrically. 

As just one example, the musical does not close, as does the film, with the adult Billy dancing in Matthew Bourne’s Swan Lake.  Instead, this scene where Billy proves his dancing ability to his father is transformed into a wonderful pas de deux between the younger Billy and Billy’s Older Self (Isaac James) in ballet attire--a scene that not only shows us and Billy’s father what Billy could become but demonstrates the ecstasy, literally the sense of flying, that dancing gives him.  This is in many ways the highpoint of the musical. 

Five boys rotate in the title role.  We saw Sam Angell, who seems to have his own fan club, and were blown away by his talent.  This blonde-haired boy whose voice has not yet broken has to master an accent, act, sing, do acrobatics, tap dance and do ballet.  He was simply amazing and performed effortlessly.  James Gaddas was especially effective as Billy’s father and made his character’s change from disgust to pride in his son a pleasure to watch.  Jackie Clune was a delight as Mrs. Wilkinson, Billy’s dancing teacher, whose external gruffness hides her inner joy at finally having a pupil worth teaching.   

I had only two complaints.  First, the hydraulic set element that corkscrews up storeys from the stage to represent a cross-section of Billy’s house is technically a marvel but is not in keeping with the non-high-tech presentation of the rest of the show--a much too expensive way to depict a lower-class dwelling.  Second and more substantial, the musical adds a character not in the film--Billy’s dead mother--whose primary function seems to be to increase the the sentimentality quotient.  Fine as Sara Poyzer was in the role, the show simply does not need the character or the sentiment.  It’s quite engaging enough as it is and her presence slows down the finale. 

Otherwise, this is one of the best new musicals I’ve seen in quite a long time.  I don’t know how American audiences will deal with the constant swearing in a show with children or with the sometimes impenetrable accents.  But that will be their problem.  I’m glad I saw the show undiluted in London.    

©Christopher Hoile

Note: The the current cast includes Ruthie Henshall (Mrs Wilkinson), Deka Walmsley (Dad), Chris Grahamson (Tony), Gillian Elisa (Grandma), Howard Crossley (George), Barnaby Meredith (Older Billy), Claudia Bradley (Dead Mum) and David Muscat (Mr. Braithwaite). 

Photo: Sam Angell as Billy Elliot, ©2007 Friends of Billy Elliot; Jackie Clune as Mrs. Wilkinson, © 2007 David Scheinmann.

For tickets, visit http://billyelliotthemusical.com.