"Billy Elliot the Musical" is another example of a big-screen film finding new life on the stage. Disney has scored with musical-theater adaptations of "Beauty and the Beast," "The Lion King," and other family-friendly fare. (DreamWorks' "Shrek" has also made the leap to the stage, and Rochester Broadway Theatre League is bringing that show to town in early 2012.) Directors like Mel Brooks and John Waters have made beaucoup bucks translating cult classics like "The Producers" and "Hairspray" into blockbuster musicals.
Sometimes the switch from one art form (film) to another (theater) can improve upon these familiar stories; I found the giddy, over-the-top "Legally Blonde" musical superior to the movie it was based on in almost every way. But sometimes the original source material is so strong that it's hard for a stage show to measure up. "Billy Elliot the Musical" is a good show, and the touring production currently on stage at the Auditorium Theatre features strong performances. But watching the show, I found it impossible to put the beloved original film out of my mind. And while much of the musical works, some odd changes, and less-than-polished sequences, ultimately left me feeling slightly disappointed in the show as a whole.
The movie version of "Billy Elliot" came out in 2000. The film became a surprise hit, grossing more than $100 million worldwide. It earned Oscar nominations for director Stephen Daldry, actress Julie Walters, and its screenplay, and launched the career of its young star, Jamie Bell. In 2005 the film was adapted for the stage, featuring music by Elton John, and it won the Tony Award for Best New Musical after opening on Broadway in 2008.
Set in a small northern England mining town in 1984, "Billy Elliot" tells two different, but related, stories. The more complicated adult plotline follows the coal miners - a sizable chunk of the town's male population - facing down intense government opposition as they go on strike. The other, main plot follows Billy Elliot, the pre-teen son of one of the miners, as he inadvertently discovers that he has an aptitude for ballet dance. He's so good, in fact, that his community-center dance instructor believes that he has what it takes to get into the Royal Ballet School in London. Billy struggles to reconcile his love of dance with his masculinity and working-class values, and his father will have none of it. Ultimately the story tackles class issues, labor issues, generational issues, the transformative power of art, and self-expression, all filtered through the prism of one young boy's immense talent.
Compared to the film, the musical version of the show has a trickier time balancing the miners' story and Billy's journey. Sometimes the two plot threads literally overlap on stage, with little girls in tutus sitting on the laps of dust-covered miners or nightstick-wielding police officers. It makes for some nifty direction and some great dance sequences. But from a storytelling perspective, a lot is thrown at the audience all at once, especially early in the show. There were times where I wasn't sure where I was supposed to be looking, and I was concerned that people unfamiliar with the story might be totally lost. (The thick accents can be tough to follow at times, too.)
Yet there are scenes that fully harness all of the best parts of musical theater, and make for wonderful moments. The "Merry Christmas, Maggie Thatcher" number that opens the second act is a riot, leaving the audience literally gasping at the inventive costumes and props deployed throughout. The "We'd Go Dancing" song featuring Billy's grandmother is beautiful, feisty, and poignant. And the musical conclusion to the miners' story near the end of the show is incredibly powerful.
I have the feeling that the "Angry Dance" number that closes out Act 1 is usually similarly moving, but technical difficulties on the night I saw the show (Thursday, December 1) prevented me from getting the full effect. In the sequence Billy unleashes a fiery dance in response to his father banning him from ballet class, and then interacts with riot police in some extremely cool choreography. I'm not sure what the difficulty was, exactly. The volume of the music diminished sharply, the actor playing Billy calmly walked off stage, and the curtain fell as the announcer asked for the audience's patience. Between five and 10 minutes later the curtain opened and all of the sets had been removed, and the number was clearly in a different place from where it left off. These things happen, especially in a show with so many tricky technical elements. It's just a shame, because the tension was building nicely, and from what I saw it was a terrific way to close out the first act.
Unfortunately, the second act peaks too soon, and then drags as it goes about wrapping up the various plotlines - some of which are additions to the stage show and arguably unnecessary. Billy's imaginary visits with his dead mother are sweet, but the sentimentality feels forced, especially when the story itself is naturally emotional. But the biggest change in the show is the dropping of the movie's ending, a coda that gives a glimpse into Billy's future. That idea is worked into the play earlier, and while it is beautiful in its own right, it failed to induce the literal goosebumps and awe I experienced when seeing the film's ending in the movie theater. The new ending is, frankly, a dud. It's a shame that an overall strong production wraps on such a comparatively weak note.
Much media attention has been given to the talented children that make up nearly half of this show's cast. All of it is richly deserved. The role of Billy is played by four actors who rotate performances. On the night I saw the show, J.P. Viernes was on stage. He obliterated my preconceptions about the capabilities of young performers. Viernes's dancing abilities are extraordinary. Not only is he required to execute complicated ballet moves, but he must also tap, do some tumbling, and throw in some more traditional Broadway movements. He never faltered. In fact, none of the children in this performance did. The children are frequently used for comic effect in this show, from the spastic wannabe ballet girls to the sass-mouthed boxing boys. They're all great. That goes double for Billy's cross-dressing sidekick Michael (played alternately by Ben Cook and Jacob Zelonky), whose hamminess is impossible to deny.
The adults in the show are similarly impressive. Leah Hocking is wonderful as Mrs. Wilkinson, hilariously dry as she casually mocks her less-talented pupils, but ferociously protective once she takes up Billy's cause. As Billy's father, Rich Hebert succeeds in his difficult task of believably transforming from proud and pigheaded to hopeful, yet resigned to his own fate. And in supporting roles, both Cynthia Darlow as grandma and Patrick Wetzel as Mr. Braithwaite bring welcome comedic moments with style and charm.
"Billy Elliot the Musical"
Through December 11
Rochester Broadway Theatre League
Auditorium Theatre, 885 E. Main St.
$37.50-$69.50 | 222-5000, rbtl.org
Comments for "THEATER REVIEW: RBTL's "Billy Elliot the Musical"" (14)
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michael grogan said on Dec. 02, 2011 at 6:50pm
The ending of the film, Billy Elliot, was so contrived that it ruined that otherwise excellent movie. It probably caused the film to miss an academy award. The musical had a much more realistic and acceptable ending.
Bill said on Dec. 03, 2011 at 7:50am
I fully agree with the writer's disappointment and from the lukewarm applause several of the numbers received in the production we saw Friday nite, many other folks felt the same way. For us, the disconnect started almost immediately due to the casting of a Japanese-American actor to play the role of Billy. The kid could certainly dance but he's no singer and it was tough to understand much of his heavily accented English. That, by the way, applied to several of the actors as well. The gratuitous use of F bombs seemed unnecessary and at times the play seemed more about the mining strike than Billy's challenges.
It was odd to see the Auditorium only 2/3rd's full on a Friday nite for a supposedly noteworthy musical. I wish I had been among the "missing" 1/3rd who found something better to do with their evening - even if it was just staying home!
Monica said on Dec. 03, 2011 at 5:10pm
I have to agree that although the boy playing Billy could dance EXTREMELY well, his singing was awful. I can't believe they let him play this role. I also had a hard time being convinced with his role since he was Japanese American and his accent kind of waffled between British English and Japanese but his dance numbers were impressive. I was also wondering what happened with the technical difficulty as well. The boy who played Michael was phenomenal- a true triple threat- he was very entertaining.
Jim said on Dec. 04, 2011 at 12:40am
Personally, I do prefer this ending. It's more realistic and nicely ties Michael's story together I didn't find it confusing at all. The accents are thinned considerably compared to real Geordie accents and many of the F bombs are cut in the American production. As for the technical issue, the house set got stuck and wouldn't move. It's a shame it happened, but it's live theatre, things happen. And Bill, most theatre is cast colorblind, ethnicity shouldn't make a difference.
Bill said on Dec. 04, 2011 at 1:44pm
Jim: I was pretty sure someone would take me to task for my comment about a Japanese-American playing the Billy role. How many times has a blue-eyed, blond played the lead role in Ms. Saigon? Or Porgy and Bess? Or Driving Miss Daisy? While EVERY other actor in "Billy" was clearly an Anglo playing a Brit, it just didn't resonate with us to see this young fellow play Billy. Perhaps if his singing was on par with his dancing he could have won us over but it wasn't and he didn't.
Jim said on Dec. 04, 2011 at 10:53pm
I saw the show tonight. I agree that his vocals were shaky because his voice was breaking, he was having trouble reaching the notes. He wasn't horrible though. It happens to every Billy, your just seeing him at the end of his run. Every Billy will reach the point where they can't hit the notes. Once his contracts up, he's gone, but they can't drop him in the middle of it. It's tough, since they can't predict when his voice will break. In the past his singing was perfect. His dancing and acting was phenomanal. As for ethnicity, white actors are not usually cast in ethnic roles because the ethnicity is crucial to the plot (Hairspray, Ragtime, Scottsboro Boys) but not always (Engineer in Miss. Saigon was white.) Ethnic actors play white roles all the time (Asian Christine in Phantom, Asian Eponine in Les Mis, African American Bill Sykes in Oliver, Asian Nala in Lion King etc) because it's not crucial to the plot (theres never been a show about the discrimination of whites) and people are able to overlook it. There have been many ethnic Billy's in the West End, tours, Broadway... (Asian, African American, Mexican) not to mention the Korean Billy Elliot where the entire cast is Asian... this production did include other ethnic actors playing British people, so I don't see why it would make a difference for the Billy. Obviously, the majority of audiences don't mind. If they did, they wouldn't cast ethnic Billy's. Its as simple as that. I just don't see why it would make any difference.
Jim said on Dec. 04, 2011 at 10:55pm
And tonight, his accent was spot on. It's not British English or Japanese, its a Geordie accent.
Mike said on Dec. 06, 2011 at 8:17pm
I also attended Friday night�s performance and when they announced that Lex was playing the part of Billy, I must admit I was a bit disappointed, as were my two companions. But, this disappointment soon turned to pure admiration for this young man. The main complaint I have read so far, was the accents of the cast. I might add that the patrons behind me who could not stop loudly complaining about this fact, were MUCH more distracting than the accents themselves.
This play was based on a northern town in England and the thick accent is sometimes hard to understand and takes a bit of getting used to. The cast including Lex portrayed this accent wonderfully and neither I nor my companions found it hard to understand, although I can understand where some of the Americans in the audience who are more accustomed to the likes of the television program �Glee� might find it hard to understand.
The emotion given by Lex at the end of the first act in the �Angry Dance� was truly one of the two most emotionally packed scenes in the production and was portrayed with perfect emotion by this young actor. The fact that this young mans voiced cracked during a note or two just added to the believability of his portrayal of a typical 13 year old going through the emotional turmoil that the plot demands.
Lex Ishimoto�s dance, singing and overall emotional portrayal of Billy Elliot was in the opinion of myself and the others in my group, no less than inspirational. As stated above �theater is blind� to such things as race when not crucial to the plot. As for the language, it would seem that many of the above people are disconnected with the language used, even in the U.S. from people of a lower income class struggling to put food on the table. This is the language of poverty and that is how I took it.
To the people who would have found better things to do on a Friday night, in the future, please do and, save your complaints for the newest episode of �Glee� or what ever you find better on your television. To those of you who found it hard to understand, especially those patrons behind my self and my companions, go home watch some good British telly and please keep your comments to your self or during the intermission so as not to annoy others around you.
Bravo to the cast and crew for a night of entertainment that will not soon be forgot!
Jim said on Dec. 07, 2011 at 1:33pm
Well put Mike! As an Asian American, and an actor, I found this race 'issue' rather offensive. Casting is based on who is capable of playing the role, and Lex sure is. Since it is not a racial show, race should not affect the quality of it at all.
I was suprised that people had trouble deciphering the accents. I saw the show in London, and the accents are about 10 times as thick. The accents in the American production are not nearly as heavy as a true Geordie accent. The two major differences are: 'Ay' turns to more of an 'ee' and the 'a' in a word like "can't" becomes a mix of an 'uh' and 'ooh'. Apart from that, it is pretty standard. Along with the language, it keeps the show authentic.
Lorraine said on Dec. 07, 2011 at 8:15pm
We saw the production on Saturday (3rd) night and did enjoy it but we prefered the film ending.
We are from the UK and have been in Newcastle many a time and the accents on the show were nowhere near as strong as they really are and unfortunately most of the cast wavered in and out of their accnets all night, although I do understand it is not the easiest accent to perfect and it is difficult to get right, especially for the children.
The accent that annoyed me most was the Glaswegian Ballet dancer, as a Scottish native I was appalled! He only had a couple of lines to say, you would think he could have perfected them, no wonder Billy's Dad asked him where he was from!
Mike said on Dec. 08, 2011 at 7:28am
Jim, thank you, I had put more in my review about the racial issues we face in America and how ashamed I am at people even mentioning it in a review but, I guess the first amendment is forgotten by the city newspaper.
Jim said on Dec. 08, 2011 at 9:37am
Mike: It is not mentioned in the actual City paper review, just the comments. However, I have heard some complaints about the ethnicity while in the theatre from people (all white of course) complaining loudly about it while right in front of me. It disgusts me. It's one thing to think it, but to bash the show racially while in the lobby of the theatre is NOT acceptable. It's unfortunate there are still people in America who have 'issues' with race. It is actually a law to have ethnic actors in shows. Also, the ethnicity of the characters is strictly decided by the playwrite. Casting directors must follow the playwrites wishes, as seen in casting calls. There is a controversy about a CT regional theatre putting on a production of The Motherf*cker With The Hat where they cast 2 white actors in Latino roles WITHOUT the permission of the playwrite. Apparently race is also a crucial key to that show. Also Mike, did you write a seperate review? If so, I would like to see it
Monica: The Billy you saw wasn't Japanese, therefore he could not have had a Japanese accent. He was Philipino and the actor does not have any accent. I'm not sure where you got the Japanese accent from.
Raymond said on Feb. 24, 2012 at 7:27pm
I saw it tonight ( Feb 24 ) in Victoria Theatre , London. What disturbed me the most was Billy's heavy accent. I wondered he's German ? After reading here I found out the Geordie accent.
London musicals are mostly frequented by tourists . So producers, think about it.
Overall I liked the performance especially Tchaikovsky's swan lake dance, when Billy is spinning in the air.
At the end Billy's dad asked to vote for Oliver Awards. Because of the main cast 's accent , I won't vote.
Polly said on Apr. 16, 2012 at 1:50pm
I dissagree and Billy Elliot, for me, is the most inspiration musical I have ever seen. I love the film but nothing can beet the musical. Just think about the children, it's not like when adults sing and dance, for children to do this it is amazing and they are truly magnificent, like to show. I have seen Billy Elliot twice and I'm seeing it again in a few months because myself and everyone I know who has seen it, just loves it so so much. They told me to vote, and I did about 5 times because I have seen the other three nominated and I feel that Billy Elliot is definetly the best one and that is saying something because the others and amazing. I just don't think you will ever find a greater, more insperational and heart warming musical.
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