Chicago's BILLY ELLIOT Review Roundup

Billy Elliot the Musical is the joyous celebration of one boy's journey to make his dreams come true. Set in a small town, the story follows Billy as he stumbles out of the boxing ring and into a ballet class, discovering a passion that takes him by surprise, and takes his whole family on an incredibly uplifting adventure.

Chris Jones, Chicago Tribune: "The Chicago production is very close in spirit to the London original, not least because the show has got its wit and confidence back after pushing a bit too hard in New York to conform to what was doubtless perceived as the esoteric demands of Broadway and its audience. They didn't need to play any of those games. And in Chicago, they don't. They've done the show right by us."

Hedy Weiss, Chicago Sun-Times: "The Chicago production, in many ways far superior to the Broadway edition, could not be more ideally cast. To Mrs. Wilkinson, the hard-edged neighborhood dance teacher who recognizes something special in Billy (and who clearly comes with her own tale of bitter disappointment), Emily Skinner brings an invaluable mix of steeliness and heart of gold. And there is deft work by Armand Schultz as Billy's dad; by the volatile Patrick Mulvey as his older brother; by a winningly understated Susie McMonagle as his mother (who is dead, yet very much alive in his heart), and by the beguiling Cynthia Darlow, his senile but loving grandmother."

Barbara Vitello, Daily Herald: ""includes moments so moving, so fundamentally honest and so unabashedly joyful they take your breath away.  Case in point: the startlingly lovely second act pas de deux between 11-year-old Billy (the gifted Cesar Corrales, a guilelessness young actor and technically brilliant dancer) - and his older self (the superb Samuel Pergande). Set to the music of "Swan Lake," Peter Darling's exquisitely choreographed number reflects joy words cannot adequately express. Moreover, the dance elegantly reflects the musical's message about the need for self-expression and the power of art to inspire, illuminate and unite people under the most dire circumstances."

Tony Adler, Chicago Reader: "I know I was prepared to be wowed by the Chicago production. But I wasn't. It's not that the emperor has no clothes, it's that the clothes he's wearing are far too elaborate. This is basically an endearing little story, with a few nice songs and some interesting things to say about family love, talent, individuality, and the light and dark sides of working-class solidarity. But author Lee Hall (who also wrote the movie) and composer Elton John have seized on its political aspect to blow it up into a cluttered three-hour spectacle. They shouldn't have."

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