These singing, dancing kids are all right
Billy Elliot fuelled by its youthful talent, innovative form and surprising topicality
How did a thoroughly British musical like Billy Elliot, The Musical conquer New York and win 10 Tony Awards, including Best Musical?
It’s the kids. As long as the boy playing the title role of the motherless son of a miner can dance, and the other child performers (20 all together) can keep up with him, the show is a sure bet, propelled by youthful charm and talent.
The vehicle itself is innovative in form, book-heavy for a dance musical, with a mildly gritty narrative adapted from the film version by its screenwriter, Lee Hall, who also wrote the lyrics. The choreography (by Peter Darling) taps multiple dance genres with solid emphasis on ballet. Sharp cultural contrast occurs when miners and riot squad police face off with adorable little girls in tutus caught in the middle. The fluent staging, developed by director Stephen Daldry and set designer Ian MacNeil, although slightly altered for the U.S. touring production now playing Salle Wilfrid Pelletier at Place des Arts, allows the show to move swiftly forward through multiple locales while retaining the framework of its grungy home base.
Elton John’s music serves the story of a young boy pursuing his true self through dance. (His father considers boxing a far more necessary skill.) But he wasn’t able to come up with a standout song on a par with Can You Feel the Love Tonight from The Lion King.
Also, the topicality of Billy Elliot, which is set against the backdrop of the 1984-85 British coal miners’ strike, will remain relevant as long as there are unions and strikes. No Quebecer, having witnessed last spring’s showdown between student demonstrators and police, is likely to remain immune to the scene wherein Billy bounces off the plastic shields of a line of riot police and falls to the floor, only to rise again in his Angry Dance number.
Noah Parets, who played Billy at Tuesday night’s opening, acquitted himself admirably as a dancer throughout, winning applause as he soared on a wire, guided by his adept adult self (Christopher M. Howard), in the Swan Lake number and again while pouring out his soul in Electricity. As a singer/actor, he touches hearts with his two takes on the sentimental Dear Billy song, shared with his late mother (sweet-voiced Molly Garner, as the ghost).
Parets alternates the role of Billy with Ben Cook, Drew Minard and Mitchel Tobin.
Within the ranks of the children, Jake Kitchin, as Billy’s cross-dressing friend Michael is a scene-stealer, excelling in the Expressing Yourself number. (Sam Poon also plays Michael for some performances.) Samantha Blaire Cutler is suitably perky as mini-ballerina Debbie, who has a crush on Billy. And Cal Alexander is endearing as the Small Boy.
Among the adult performers, Janet Dickinson, who is required to dance and sing as well as bond with Michael as the cigarette-puffing dance teacher, is both credible and entertaining. And Patti Perkins is a delight as Grandma singing to Billy about good dancing being the saving grace of a bad marriage.
The adult character acting is solid throughout, although accents vary — most ranging far from County Durham, where the story is set. Joel Blum, however, as the wily boxing coach, hits close to the mark.
Patrick Wetzel, as Braithwaite, the pianist, is almost as huggable as the kids once he gets into dance mode.
Although Billy Elliot The Musical caricatures Maggie Thatcher and begins and ends with rousing union anthems, the musical form tends to lighten heavy political messages.
Essentially, it’s a poignant show about a dancing boy who shines like a lantern in a mine shaft to those who face the demise of an industry and a way of life.
Billy Elliot The Musical
continues through Sunday, at Salle Wilfrid-Pelletier of Place des Arts. Tickets, $35$98. Call 514-842-2112 or visitpda.qc.ca