[NEohioPAL] Berko review: BILLY ELLIOT THE MUSICAL @ State Theatre/Playhouse Square

[Roy Berko]

BILLY ELLIOT;  A MEANINGFUL STORY AND A PRODUCTION THAT MEETS THE CHALLENGE

Roy Berko

(Member, American Theatre Critics Association)

--THE TIMES NEWSPAPERS--

Lorain County Times--Westlaker Times--Lakewood News Times--Olmsted-Fairview 
Times

COOLCLEVELAND.com

When Elton John saw the movie BILLY ELLIOT at the 2000 Cannes Film Festival, he 
wept.  He stated, “The story is very similar to mine:  Trying to be something 
out of the ordinary.  Having a talent and wanting to break free from what others 
want you to do.” 

John was so inspired that he approached a director about making the film into a 
stage musical.  After many rejections, based on “who wants to see a musical of 
striking miners and a kid in Northern England,” John prevailed.  The results?  A 
musical that won 10 Tony Awards, and has been seen by over 4.5 million people.  
A musical which opened on Sunday evening to an enthusiastic audience at the 
State Theatre.  They came expecting something special and from the way they 
responded, they received it.

BILLY is not the traditional feel good musical.  Yes, in the end, there is a 
happy ending; but, in the process, the story of an adolescent who discovers he 
has a talent for dance and pursues it against the vehement objections of his 
father and the derision of his coal mining villagers, is also filled with the 
devastating repercussions of the 1984 British coal miners strike, which has 
affected that country until this day.

Besides the low key Elton John music, the thing that seems to most excite the 
audience is the boy, actually boys, playing Billy.  As Stephen Daldry, the 
show's choreographer puts it, “Not only is the character [Billy] onstage for the 
better part of three hours, he sings, acts, speaks with a Northern English 
dialect, does gymnastics, and dances in a variety of styles.  In the touring 
production, the part of Billie is traded off by five boys.  

Opening night found 13-year old Giuseppe Bausilio, from Bern, Switzerland, who 
recently appeared in the role during the Chicago run of the show, as Billie.  
Other Billies on this tour are from Australia, Michigan and California.  The 
average stay for a Billie is 1.5 years.  They physically grow and their voices 
change.  In fact, ”each boy grows out of their shoes at least once, often twice 
during their time in the role.”

The plot revolves around a boy, whose mother has died and is being brought up by 
his grandmother, coal mining father and brother, and who, under the guidance of 
a tough minded dance teacher, trades boxing gloves for ballet shoes.  It is 
based on A. J. Cronin's novel, THE STARS LOOK DOWN, to which the musical's 
opening song pays homage.

As Alex, my 15-year old grandson, who comes along to productions to give the 
tween-teen point of view stated, “This is more than a musical about a kid with 
untapped talent.   There is a strong story of history that has to be understood 
in order to gain a true understanding of the show.”  With that in mind he 
indicated the need to read the information in the program or the poster in the 
lobby in order to gain the necessary background.  “It also might not be 
appropriate for younger kids due to the language and the story, but they could 
appreciate the dancing and the fun parts.”  He was impressed by the dancing, 
thought the singing was acceptable, and the story line was well developed.”

The touring production is blessed with a uniformly excellent cast, headed by the 
multi-talented Faith Prince, probably best known for her Tony award winning 
portrayal of Adelaide in the revival of GUYS AND DOLLS.   Highlight performers 
included Jacob Zelonky, as Billy's cross-dressing chum, Rich Hebert as Dad, 
Patti Perkins as Grandma and Jeff Kready as Billy's brother.  

Highlights of the show include a balletic duet performed by Maximilien Baud and 
Bausilio, the intense “Angry Dance,” and the exuberant “Express Yourself.”  
There wasn't a dry eye in the house during the original “Dear Billy” a letter 
from Billy's dead mother to him, and the song's revival, in which Billy writes.

The full orchestra was excellent, as was the corps dancing.  The stylistic 
settings, though somewhat low budget, worked.

CAPSULE JUDGEMENT:  BILLY ELLIOT THE MUSICAL will hit audiences on many levels.  
There is a solid story, excellent dancing, quality acting and a talented 13-year 
old.  BTW---don't run out at the start of the curtain calls…it's worth the wait 
to see the cast totally let loose in a rousing after-act.

Tickets for  BILLY ELLIOTT THE MUSICAL which runs through December 12 , can be 
ordered by calling 216-241-6000 or going to www.playhousesquare.org.
 
Roy Berko's blog, which contains theatre and dance reviews from 2001 through 
2010, as well as his consulting and publications information, can be found at 
http://royberko.info.  His reviews can also be found on www.coolcleveland.com 
and www.NeOHIOpal