Billy Elliot: The Musical

Nearly five years after making its landmark debut at London’s Victoria Palace Theatre in the historic West End, Billy Elliot: The Musical continues to charm audiences on both sides of the pond. Having grown into a global phenomenon in such a short period of time, the production has been already made a splash in Sydney, Melbourne, New York, Seoul, San Francisco, Toronto; gathering nearly every theatrical award possible along the way. Most recently, the show has come to reach the heartland, committing to a near year-long engagement at Chicago’s Oriental Theater. As Billy Elliot’s time in Chicago begins to wrap up, audiences race to experience the thrill and excitement only provided by such a caliber of show as this.
    With a score composed by none other than Elton John himself, Billy Elliot presents an otherwise tired plot with style and flare, and further stirs the emotions of audience members in this refined version of the “coming of age” plot structure. Highlighting the troubles of a young boy whose passion for ballet in a coaling mining community makes him a minority figure, the musical remains true to the film after which it is based. Themes of identity, sexuality, political upheaval, and angst are all present throughout the 2.5 hour masterpiece; themes which halted the production’s initial journey to the United States. While audiences in New York found the show to be both compelling and fresh, audiences in Chicago were less than welcoming during weeks following the midwest premiere. A bulk of the complaints were centered around a scene in which Billy’s best friend, played by Dillion Stevens and Jack Broderick, dresses up in his mother’s dresses, and further encourages Billy to do the same. Another main source of hesitation revolved around the language used throughout the production. Taking place in a rural coal town, the language used is both harsh and offensive, however true to the nature of the region. Even the young actors can be seen spouting off an f-bomb here and there! Despite a less-than-ideal reaction from heartland audiences, the show continued to build a following, until eventually going to sell out 3 months in advance.
    The robust and zany Emily Skinner anchored the production’s cast in Chicago playing Billy’ dance instructor, Mrs. Wilkerson, despite her having to leave in September 2010 after being offered the role in the Broadway production. She was replaced by so-so actress Susie McGonagle soon after, the mere writing of her name stirring about memories of the uncomfortable noises coming from her tap shoes as she bounced around the stage. While not terrible, McGonagle proved more of an actress than she did a dancer, unless you consider “clunking” around while winded to be dancing, in which case she was beyond fabulous!
    Perhaps the most notable performers in the show, as expected, were the four young men who portrayed Billy on a nightly basis. A demanding role to say the least, these boys defined the balance between athlete, artist, and entertainer, and further took responsibility for the show’s momentum at most times. The role of Billy calls for its actors to be on stage, either dancing and/or singing, for a majority of the night. As seen with the Broadway cast, this fact is often the cause for youngsters to opt out of the role after a just few short weeks. To help prevent this problem in Chicago, producers cast a 4th Billy to join the already talented group of performers. In particular, a young man from Mexico named Cesar Corrales, stunned audiences with his vigor and pacing, and further earned himself three standing ovations a night, on average, for his work. Corrales opened in front of Elton John on opening night in April, impressing the living legend after the first ensemble number. I’m sure we’ll be hearing much more about Cesar Corrales as he uses his time post-Billy to hone his skills even further at Canada’s National Ballet School.
    Set amidst a politically-torn coal mining community, the musical provides miraculous commentary for the union crisis fueled by Margaret Thatcher and her cabinet during the 1980s. The music in the show reflects this time period beautifully. Many songs in the show boast her name, and even symbolize her to be a monster during the Act I finale. With this, a cartoon monster version of her head grazes the auditorium as the cast bashes her and her policies. It is truly a great moment in musical theater history.
    While Billy Elliot: The Musical is now leaving Chicago, an unexpected two months earlier than booked, the show embarks on a national tour fit for a show of this standing. Over the next year, audiences nationwide will have the privilege of seeing this ingenious spectacular firsthand, and further finally join the movement we’ve all been buzzing about for the past year.