Billy Elliot - Le Musical Live

Billy Elliot the Musical Live is so fun and also covers important topics and issues in its area. I think it was great having the film set in 1984 with the mining strike. It was also very clever using the ballet as it wasn't normal for boys. Also the LGBT stuff in Michael's character. These are just some things that bought very real problems to the story line.

It was written well and that wasn't the only good thing about this show. I loved the stage set up and the actors in this musical were great. The talent that we see in some of the actors are phenomenal! The tap & ballet was choreographed so well. Good job to all the cast!

Superb performance,love the 'Live' format. Twenty six dancing Billy Elliots In the Chorus line. We saw the show at Victoria Palace. The live format at ICON in Minneapolis where a smallish appreciative audience applauded right along with the audience in London's West End. Every cast member was in top form and the camera close-ups and aerial shots gave us unprecedented access. The dialog was a challenge to the Mid-West ear but the energy of delivery of the lines conveys the meaning the trauma of the CMU strike. ' Merry Christmas Maggie Thatcher' is a routine that stays in one's memory long after the final curtain. For me this was the finest night in the Cinema for a very long time.

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

What an incredible ten year run coming to a close April 9th, 2016. From a man who never wrote songs combined with a man who embraces the production of fine art through any medium as collection of ideas and abilities. This movie is an epic example of how a decade of work can shine. Elliott, and every Billy, brought with them very little skill for this monstrosity of a role. What were you doing at 12? The stage, music, lighting, and fiery audience gives you a feel as if your a drone buzzing about the airspace of the Victoria Palace Theatre. There is not a character you wont be able to connect with. A tasteful buffet of all dance styles. Grab a box of Kleenex. Have watched it more than ten times now. Includes bonus performance. If you can't get to London get it to your TV.

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.