BWW Reviews: Electric BILLY ELLIOT Illuminates Hobby Center

In the second act the protagonist, Billy, describes dancing as "a burning deep inside, something bursting me wide open, impossible to hide...like electricity."  What a wonderful way to also describe the masterpiece that is Billy Elliot: Electric.

With Billy Elliot the whole is truly greater than the sum of its parts.  The incredible dance would not be as strong without the excitement of the score's instrumental pieces which resonate through fantastic sound design and are emphasized by skillful stage direction.  The 15-song score by Elton John (Aida, The Lion King) is not anywhere near one of my favorites but it serves as a perfect cornerstone for one of the most touching musicals I have ever seen.  It is no wonder TIME magazine named Billy Elliot "the best musical of the decade" and why if you see no other show at the Hobby Center this year, you must witness this genius for yourself. 

The musical was conceived by John after being moved to tears during the 2000 Cannes Film Festival film premiere of the same name.  That evening he approached the film's director, Stephen Daldry, about adapting Billy for the musical stage but Daldry remained skeptical up until the four-week workshop at London's Old Vic Theatre.  It was at that moment Daldry realized the project he had been working on with John and the film's original screen writer, Lee Hall, and chorographer, Peter Darling, actually "had a chance". 

Throughout the development the production team's goal was to maintain the emotion of the original film - I would say they surpassed it.  Billy Elliot bursts with emotion that explodes from the stage to pull at every heartstring.  There are incredible highs filled with quintessential British humor and stirring ballads guaranteed to wet every dry eye. 

The central message of Billy Elliot is to never let someone stand in the way of pursuing what you love.  The plot interweaves two story lines: the first of a young boy who discovers a love of ballet despite his father's objections, and that of the 1984 British coal miners' strike.  Focusing on politics more than the original film, the show ferociously rips former Prime Minister Margaret Thatcher who's policies aimed at dismantling one of Britain's most powerful unions. 

By having pre-planned to stockpile coal and switch many power stations over to oil, Thatcher was able to ensure the majority of Britain would not be affected if the miners went on strike and would be able to endure no matter how long the miners would resist.  After a year on strike, entire communities were devastated until the miners had no choice but to find work however the coal industry was forever wounded.

Beyond a doubt, the kids rule this production of Billy Elliot.  For this the 2^nd National US tour, the leading role is shared by four boys with Daniel Russell taking the honors on the press night.  Russell (an Australian who has previously performed as 'Billy' in Melbourne) was beyond amazing with a powerful performance more mature than his 14 years and some of the strongest vocal and emotional moments of the cast.  However even more impressive was his execution of Darling's ingenious chorography.

Before Billy has learned ballet, the chorography consists of sharp movements that could come from a young boy's initate sense of movement.  The chorography then smartly progresses to proper ballet as Billy is trained.  The dance along with stage direction also helps intertwine the two plot lines with numerous interesting mixes between the ballet class and the miners. 

However the most spectacular moment in the show is the instrumental "Angry Dance" which ends Act 1.  The phenomenal, intricate chorography features Billy symbolically held back by boxes and other dancers as well as conveying the force of the police officers resisting the miners.  This sequence was by far my favorite thing I have ever seen on stage.  

As Billy's cross-dressing friend Michael, Griffin Birney was another highlight of the show delivering deadpan lines.  His performance is full of joy and he shines during the number "Expressing Yourself".

While the musical's book disappointingly relies on swearing for humor far too often, humor does successfully continue into the lyrics of many songs.  The most entertaining number has to be "We'd Go Dancing" featuring Billy's Grandmother, played by Patti Perkins (Broadway Billy Elliot, The Full Monty, Shakespeare's Cabaret) stating if she could redo her life she'd remain single and never be sober.  Perkins is delightful as the aged woman and it is the details of her movement and vocals that makes the portrayal convincing.

Rounding out the cast is Tony award winner Faith Prince as Billy's ballet teacher Mrs. Wilkinson.  She has received impressive accolade as Ms. Adelaide in Guys and Dolls but in this role I found her performance simply adequate.  There was something lackluster about her portrayal of the ballet teacher and I was underwhelmed by her musical numbers.  I wish I could put my finger on why.  It certainly doesn't help "Shine" and "Born to Boogie" were musically two of my least favorite songs but I just didn't feel the same spark that existed in many of the other performances.

Billy Elliot is guaranteed to put a smile on your face and one show you simply cannot pass up.  You have until March 13, 2011 to catch Billy at the Hobby Center as part of the Theatre Under the Stars 2010-2011 season.  Tickets start as low as $24 and are available at www.broadwayacrossamerica.com/Houston and www.tuts.com or by phone at 800-982-ARTS (2787) and 713-558-TUTS (8887). 

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