Billy Elliot the Musical

First seeing the 2000 BAFTA award winning and Oscar nominated film Billy Elliot, I had extremely high expectations. Although faithful to the original, Stephen Daldry took the production to a whole other level, which in some ways helped to produce a better version. However, I could also argue the contrary and say that the excessive glitz and glamour of the show were the cause of the narrative’s lack of depth. But overall, the talent and brilliance of the production successfully captivated my attention for the two and a half hour show and left me satisfied with my purchase.

The Victorian Palace Theatre in London was a spectacle in itself. As I first entered the double-doors I was surprised that the venue looked so small. My family had only heard great things about it, and I had read its raving reviews, so I wondered how it was not in a larger theatre. But as I handed them my ticket and walked up the deep red, velour-carpeted stairs, I realized just how many people were doing the same. The second I opened the door to the theatre, I saw the stage and my heart skipped a beat. I took a seat and looked around. The place was massive. I was on the middle level of the three, and both sidewalls were covered in balcony seating. I then realized how the theatre got its name; it looked like a palace with its elaborate golden decorations and enormous crystal chandeliers that hung from the ceiling. With the buzzing of 1,500 voices, the acoustics of the spherical venue seemed to reverberate in a cyclical movement around the room. Taking in my surroundings only further increased my excitement, and soon enough the orchestra began to play and the giant red curtains parted.

 There were multiple young actors on stage, but Ryan Collison held the spotlight. Collison’s journey as Billy from the doomed city of Durham to the Royal Ballet School was a nostalgic one that incorporated powerful songs and honest lyrics. Just like Billy, the show lived or died by the dancing. Collison did not wait long to show the audience that he is a courageous, talented, and extremely acrobatic dancer. However, from years of experience in dance, I felt the overall choreography was underwhelming and a major disappointment. Collison owned the stage with his endurance and gymnastic skills, but I expected more from a musical about a ballet dancer. Although the audience sympathized with Billy and had a desire to support him, the connection between the characters and the audience was absent. In contrast with Daldry’s film, his musical’s narrative lacked the character development that would have made the tragic events more meaningful and the touching moments more significant. But, I must take into account that my history with dance, especially ballet, made me a more critical audience member. To the average spectator, I’m sure Billy Elliot the Musical has the perfect mix of ingredients to keep audiences streaming through the doors for years to come.

Alexis Bley