THE POWER OF DANCE
Miners’ strikes, Margaret Thatcher and kids in tutus? Yes, Billy Elliot has danced his way back into Australian theatres.
Twenty years ago, the movie Billy Elliot was a major success, winning hearts and awards. Staring Julie Walters, Jamie Bell and directed by Stephen Daldry, it was the feel-good flick of the year. The story of a boy’s passion for ballet dancing and the hurdles he encountered, including the objections of his father resonated deeply with audience.
From National Velvet to Yentl, Bend It Like Beckham, School Of Rock and Mulan, many stories in which a young innocent overcomes adversity can strike a chord and find success. Billy Elliot soon found its way to the musical theatre stage and the current local production is celebrating its tenth anniversary tour.
Set in the context of the 1984 Durham (UK) miners’ strike, there’s an array of captivating characters. Billy lives with his father, brother and a somewhat broken grandmother.
The script’s humorous dialogue is often a counterpoint to the poignant moments along Billy’s road to become an accomplished dancer. Billy seeking comfort in his mother’s ghost is particularly moving.
The cast includes Justin Smith (Secret City) as Billy’s dad, Vivien Davies (Dusty) as Grandma and Drew Livingstone (War Horse) plays Billy’s older brother Tony. However, it’s Lisa Sontag (Les Miserables) as Mrs Wilkinson, Billy’s dance mentor and ersatz mother, and Oscar Mulcahy as Billy’s cross-dressing friend Michael, who stand out. Mulcahy brings all the confidence and poise you would hope for in such a role.
A variety of child actors have taken the lead role, with River Mardesic confidently opening the Melbourne season. He shines throughout, even closing the first act with a form of interpretive dance. Billy performing ballet with his grown-up future self, played by Aaron Smyth, is a highlight.
It’s refreshing to see the child characters being portrayed as bold, brash and unashamedly real. Some may find children using four letter words inappropriate, but it’s a device of the script to authentically depict the inhabitants of a working-class village in
England’s north-east. To that end, there is a great emphasis on the era’s political upheavals.
The production makes great theatrics of Margaret Thatcher, with a puppet show turning The Lonely Goatherd on it head. And who would have thought the violent clashing of uniformed police, miners in hard hats, and a girls’ ballet class would make for such brilliant choreography.
While Stephen Daldry and Peter Darling are the initial director and choreographer, Jacinta John and Danielle Bilios have done well as the resident counterparts. Add the score by Elton John and you have a winning musical.
The only criticism would be the over extent of dancing into the climax. Brilliant as the dance work is, the character dialogue becomes lost. Nevertheless, Billy Elliot hits the right note. Stories celebrating diversity and equality will always shine brightly.
Billy performing ballet with his grown-up future self is a highlight.