BWW Reviews: BILLY ELLIOT THE MUSICAL at The Firehouse Theatre

Stop what you're doing, call The Firehouse Theatre, and jam your credit card into the phone to grab yourself a pair of tickets to the group's newest production: Billy Elliot: THE MUSICAL. The show, which is making its local debut after a 2012 Broadway bow, is as honest and inspiring as you'll find on any DFW stage.

Set in mid-1980's northeast England, Billy Elliot is not just a story about a young wannabe ballet boy. In County Duram, where Billy lives with his brother and widowed father, the local coal miners are on strike, filling the street with dangerous riots and poverty. Without his father's support, Billy attends dance class in secrecy, until his teacher pushes him to further his training. Eventually, his family does find the acceptance to encourage the young teen's talent, but it takes the entire community's support to help him achieve his dreams. Although the story features several exciting dance moments, Billy's journey is simply about being true to yourself and allowing your heart to take the lead. Had the story been told about baseball, baking or stamp collecting, the message would be equally impactful.

With a large cast and rather challenging material, Billy Elliot is not an easy feat for non-professional theatres. In fact, I'd almost expected the show to remain unavailable for community theatres, in an effort to keep this show's integrity intact (like FOSSE or MOVIN' OUT). But with a director like Derek Whitener, the heart and soul of any Broadway Blockbuster honorably transfers to a local stage. Whitener, along with musical director Rebecca Lowrey, has assembled a top-notch cast and orchestra, who are clearly giving the performance of their lives.

Billy Elliot may just be the most demanding child's role to-date (sorry, Annie), and Westin Brown is utterly charming in the complex part. Although Brown may not yet have the full technical training that those who have played his character typically possess, the young actor's potential is crystal clear. His emotional maturity brought me to tears on several occasions, and oftentimes the script was not the responsible party (I first wiped tears as he learned to chaines turn across the stage). My greatest (and only) concern with Brown's performance was a moment where he's been directed to express his anger by screaming over the band repeatedly. With his young voice already stretching for Elton John's soaring score, I worry that Brown will become vocally strained after only a few performances. But this tween is a rising star, and DFW is lucky to have him.

As Billy's best friend Michael, Matthew Vinson is the perfect scene-stealing sidekick. With his influential self-confidence, Vinson was born to play this role, delivering nothing short of a perfect rendition of "Expressing Yourself." Ben Phillips' honest approach to Billy's father becomes heartwarming as he grows to accept and understand his son. And Andi Allen's dry take on Mrs. Wilkinson, Billy's providential dance teacher, invites as many laughs as it does tears, as she provides no-nonsense support for the boy's education. The tiny Firehouse stage is overflowing with skilled local performers (with a special head nod going to the impressive men's ensemble) who each deserve praise, but special kudos are owed to the adorable Small Boy, Andrew Cave, as well as Ryan Machen, who gracefully showcases his ballet training as Older Billy.

The Firehouse Theatre made the unique, if not strange, decision to hire eight local choreographers to stage nine of the sixteen musical numbers. Each song is infused with excitement and creativity, and really manages to fit both the space and talent of the performers like a glove. On the other hand, perhaps the younger dance leads could have benefitted from more time with a single instructor, who might have found more time to focus on additional dance technique, and would have better identified the performers' strengths and weaknesses. Nevertheless, the show looks great due to the talents of Larry Horero, Beth Lipton, Brandon Harvey, Amy Cave, Christina Kudlicki Hoth, Eddie Floresca, Michael Anthony Sylvester and Linda Kay Leonard. Because I'm cursed with a strong memory and exceptional YouTube skills, I must acknowledge that a few songs ("Shine," "Solidarity"), while expertly performed, are recreated step-for-step from Peter Darling's Tony and Olivier Award-winning staging.

Like the cast, the design team is full of superstars. Kevin Brown's clever scenery is impeccably detailed, and perhaps the best use of the shallow stage I've seen to this point. Kathryn Marbry and Steven Anschutz's clean sound design is also evidence that Firehouse is a strong contender in the community theatre scene. Scott Davis' lighting design doesn't just highlight the stage action; it enhances the story with innovative light placement and a color palate that expertly expresses emotion. And, with the singular exception of the "Expressing Yourself" design, which seemed misled and poorly executed, Alexandra Eddins' costume design is spot on.

Of the hundreds-upon-hundreds of non-professional theatre productions I've attended, Derek Whitener's direction of Billy Elliot easily stands out as one of the best. As a reviewer who frequently attends opening night performances, I often overlook small challenges that are typically due to lack of rehearsal and opening night jitters. But Whitener, Lowrey and two handfuls of choreographers have skillfully created an electric evening of inspiring theatre.

Billy Elliot runs through August 14th at The Firehouse Theatre in Farmer's Branch. Tickets and more information are available at www.TheFirehouseTheatre.com or by calling 972-620-3747.

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