Billy Elliot - Live

When Elton John re-created Billy's story to a musical in 2005, it garnered countless awards and recognition in the world of stage. The adaptation continued to run in London, the US, and Canada to universal acclaim. In 2010, it even had its first non-English language production which premiered in Seoul, with a young Korean playing the coveted role of Billy.

Much can be said of the talent of its lead. Elliot Hanna as the central character is a total performer. He re-creates Billy on stage and gives the character a new face and a new form. In him, we see a more passionate Billy. He dances like a professional, and executes almost- perfect pirouettes. He has the soul of an actor worthy of an Olivier, a protégé ready to face bigger audiences and bow at their applause. But Hanna is at his best in the more sentimental scenes. I particularly like the part when he lets Mrs. Wilkinson (Ruthie Henshall) read her mother's letter (Mum's Letter) in preparation for a dance routine. In the scene, Billy's mom enters the stage to sing with him and Mrs. Wilkinson. Here, Hanna poignantly shows Billy's deep longing for a mother. His misty-eyed nuances crawl over the screen and onto the stage, overpowering the lyrics and Elton John's music. Here is a Billy who exhibits a complex core we hadn't seen before. It's a phenomenon on stage that is worth more than a second look.

The supporting actors are scary, yet colorful. Henshall as Sandra Wilkinson is unexpectedly jolly, connected and engaged. At some point, one may think that she may pass as Billy's second mum. I just get a bit worried whenever she puffs half a cigarette after a total cardio-vascular performance. No wonder she gets tired that easily. But that's her lungs. Deka Walmsley as Jackie Elliot is superb. He is the same Daddy Elliot that we know, and he enchants the audience the same way Gary Lewis enthralls us in his performance of the original role. Like Lewis in the film, Walmsley's best scenes are those that examine his emotional dilemmas; how his heart chooses his love for his sons over everything else. Chris Grahamson is the love-you-hate-you Tony Elliot. His presence fills the stage, and his looks are undeniably priceless. He slowly matures on stage, and the audience loves him for that. Worthy to mention is Ann Emery's performance of Grandma. Her energy covers most of her scenes with gusto. Hall, who also wrote the story for the stage adaptation, gives the role a deeper back story, bringing Billy's Grandma somehow closer to the audience.

The problem lies, however, in its execution. It exaggerates a simple plot and borders to almost being contrived. The music, though done with good intentions, stretches the plot to an unbearable pace, making one wonder if it is all worth it. Most of the dialogues maintain the same feel of the movie. The swearing and shouting never seem to stop. Though it's understandable that the excessive use of swear words throughout the story establishes a carefree culture of the working class, the stage adaptation fails miserably in justifying such conviction. It was all an empty-headed quack; a frail attempt to fill between the lines.

Musical-Michael (Zach Atkinson), Billy's best friend and confidant, is much more flamboyant. While on the other hand, the film-Michael has a deeper back story and a more complicated personal dilemma. Much can even be said about his quiet love. His final shot in the film, after Billy kisses him goodbye, is a cinematic moment where, at one point or the other, we see ourselves. This shift from the original character, for the purposes of can-can entertainment, dismisses the beauty of his graceful silence in the film.

Further, the Revolution in the film is just a background juxtaposed to Billy's ballet dreams. It intensifies his passion and clearly presents an ironic stance on civility and disorder. However, the adaptation tries to balance Billy's journey and the Miner's Strike. Though noble, it demagnifies the score of its central character. It lessens Billy's goal as it levels with the unclear stance on a revolution that is already too passionate to a fault. As a result, its original simplicity turns bitterly over-complicated, confused and clouded.

Billy Elliot the Musical Live! revolves around the same familiar plot. It attempts to forge the same deep emotional journey of the film that made millions cry. It's triumphant at times. Somewhat memorable, even. But at some point, it gives off a shallower exposition. It may have big production numbers, well executed pirouettes, and dazzling choreographies, but it misses the heart of the original. Had it not been for the cast's breathtaking talent and Director Stephen Daldry's ambitious attempt to re-create a feel-good classic, this stage adaptation would have been amiss.

The story of this musical is wonderful, and I know many people who need to see a story like this. Well done! Bravo!

There's really not much that can be said about this other than it is just fantastic. The energy and talent on display here is phenomenal and we get a front row seat - better in fact, because we're often actually on the stage watching from close quarters. Kudos to Elliott Hanna, in fact to anyone who performs the role of Billy Elliott. The amount of skill, athleticism and energy required (and on display here) is phenomenal. Young Elliott is wonderful and you'll be worn out watching him! He IS Billy Elliott. All the cast are great and the stagecraft is brilliant. I would suggest that you will enjoy this more if you have seen the movie first. If I was to make one criticism, and it's not really a criticism, it is the original musical score by Elton John. It's great and appropriate and enjoyable while you're actually watching the stage show, but there are no songs that you'll be humming afterwards. It's mostly pretty forgettable. Still, that doesn't detract at all from a great show and you won't be sorry you invested 2½ hours or so on this.

Unless you're a fan of stage musicals, this is a big bust. The original movie was masterful, with the music selection and the direction and the cinematography. I so disliked every single thing about this stage production (with a couple exceptions). Not every single minor character needs a solo to pad it out to three hours, ffs. Mr. Braithwaite, for example. Really? Elliot Hanna was brilliant as Billy, and there were a couple set pieces that featured him that are tear-inducing. The rest of it... meh.

OK, here's the one big downside: this is a film of the actual stage show, and it simply can't adequately convey the full stirring power of the big male voice numbers. Cranking up the volume on the TV remote for those songs still doesn't quite cut it. Smaller gripes include the camera angle cuts that are a bit annoying at times, and you wish the director had chosen not to keep chopping and changing angles quite so much, and maybe stuck with more straightforward angles that didn't occasionally cut off Billy's feet during dance sequences. Yes, the 'f-bomb' is liberally sprinkled through the dialogue, but it's in keeping with the setting. Also, occasionally the accent is a bit hard to understand. And it's a staged show, so it's not aiming for realism. So don't start comparing it with Billy Elliot the movie. This is much more about the dancing with a whole extra dimension added with the songs. The movie was great. The stage show is great. But they're great in different ways despite both telling the same story.

Having said all of that, Billy Elliot the Musical is my family's all-time favourite stage show. It has everything: stunning choreography, fabulous singing, great comedy, an emotional underdog story and the whole thing is told against the backdrop of a painfully real episode of massive social upheaval. Unless the stage show is on in your city and you can afford to go and experience it in person (preferably more than once), watching this filmed version is the next best thing.

The Swan Lake sequence where child Billy dances with 'future Billy' is just the most brilliant piece of choreography, stunningly executed. And the Electricity solo by child Billy where he comes out of a long dance sequence with multiple pirouettes, then has enough breath left to continue singing and finally finish with another series of pirouettes is just astounding.

Watch this filmed version of the stage show. Later you can buy the CD and crank up the volume to really appreciate the power of the big male voice numbers. And when the stage show comes to a city near you, plan to go. At least once.