Auckland, be proud: the first show in the new Waterfront Theatre is a toe-tapping triumph.
James Wenley reviews Billy Elliot the Musical.
BILLY ELLIOT THE MUSICAL Directed by COLIN McCOLL
This is a story of escaping a cultural backwater, valuing artistic expression, putting on a huge fundraising drive, and achieving the dream that many thought impossible. Billy Elliot is a very good stand-in for the plucky Auckland Theatre Company, who have finally become the last flagship company in Australasia to get their own home venue.
Musicals have long been something the ATC do well. The best — I’m thinking Cabaret or Chicago —are often when they get to put their own spin on the material. This is not the case with Billy. It’s modelled off the 2005 West End production, and the recording made for the 10th anniversary has been on constant repeat as they replicate the contractually obligated choreography. It gives them a formula that’s been proven to work, but the danger is a paint (dance) by numbers approach.
I’ve seen Billy Elliot in Sydney and London. While those had hydraulics that the ATC can’t employ, what we’re getting is a very good match for those international productions, and it absolutely competes. Partly that’s down to the intimacy of the new ASB Waterfront Theatre, but mostly it’s because this Billy is performed by a company who have everything to prove, and they dig deep to give us something special. Our Billy has something else: an elusive quality that we’ll call “heart”.
The 2000 Billy film was a startling picture of Thatcherite Britain and nationwide miners’ strikes, viewed from the perspective of an 11-year-old boy who exchanges boxing classes for ballet. The soundtrack was a super-cool mix-tape of retro Britannia, a sound the musical ditches entirely.
Unusually, the film’s screenwriter, Lee Hall, wrote the book and lyrics for the stage version. The lyrics are the weaker of the two, mawkish and often derivative, but they get the job done. It’s forgivable when the composer is Sir Elton John, who lends his trademark camp style, but also real gravel, to the miners’ ballads. The social realism and musical glitz occasionally make awkward dance part- ners but mostly work, like the audacious move in “Solidarity” to intercut an altercation between striking miners and police with a ballet lesson.
Then there are the moments when it’s not enough to sing, and dance is the only viable means of expression. After Billy is barred from ballet classes by his father, Act One finishes with the boy’s angry dance. Explosive, defiant and threatening to put dents into the brand-new stage, Billy flings himself at the police riot shields. Act Two sees him in a transcendent duet with his future grown-up self (Daniel Cooper), and climaxes with his impromptu dance during his audition for ballet school.
The quality of the ATC’s production is all the more remarkable when you consider that the creators of the original musical spent five years looking for their original Billys, and then set up a Billy school to train more. For the ATC’s opening night, it was Jaxson Cook owning the title role (he alternates with Ben Shieff and Harry Sills): an athlete for the stage, humble, but yearning for more than his lot. There are delightful performances from the other children, especially Billy’s offbeat offsider Michael (Stanley Reedy) and inquisitive Debbie (Aria Ferris).
The adults are led by Stephen Lovatt as Billy’s father Jackie, who appears visibly crushed by his years of toil, and Jodie Dorday’s vibrant ballet teacher Mrs Wilkinson, who doesn’t have it much better in middle-class domesticity — her lessons are the sole chance in her week to indulge in some escapism. The comic backbones of the production are Andrew Grainger as the boxing coach and the cheeky Rima Te Wiata as Billy’s dotty grandma.
While the musical has a brilliant song putting the boot into Maggie Thatcher, politically its values are incoherent. It wants to honour the miners, nobly fighting a lost battle, but for Billy’s story to work they also need to be contrasted as backward boorish relics. Billy is advised to go and never look back. There’s a tension running through the lyrics between the working-class refrains of “all for one, and one for all, solidarity forever” and the final curtain-call message, “what we need is in-di-vid-u-a-li-ty”. Yes, Billy Elliot smashed the union movement, dancing off to his neo-liberal future.
Striking for broad appeal, director Colin McColl and the team have done it. Billy Elliot is a toe-tapping, underdog-triumphing good time. Aucklanders can be justifiably proud of it, and their incredible new world-class theatre.