BWW Reviews: BILLY ELLIOT THE MUSICAL Delights in San Francisco

San Francisco's Orpheum Theater came alive last night with a play from across the pond that deftly combines a story about dance with solid, working-class social commentary -- and makes it shine. The winner of the 2009 Tony Award for Best Musical (plus nine other Tonys) Billy Elliot the Musical will have you reaching for the ballet barre - or at least reaching out for your own dreams again if you've happened to set them aside. Playing now through September 17th, Billy Elliot is nothing short of amazing.

Emerging out of the cold and clammy coalfields of England's County Durham, the musical captures the 1984 nationwide coal strike that took place when Maggie Thatcher (as she's "affectionately" called in the show) was in office. Her conservative government worked to break the miner's union and in the process broke a nation in two. Elton John's melodic renderings combine superbly with Lee Hall's lyrics and book to evoke an emotional vividness that highlights the strength of character, humor and wit of the hardworking coal miners and their families.

In the opening number the strikers face an daunting time of picket lines and riot police, and their families face a dwindling supply of food; still the miners bravely seek to make life as normal as possible for their children. The boys, including Billy (J.P. Viernes) and best friend Michael (Griffin Birney), are enrolled in boxing lessons at the local gym with coach George (the talented Joel Blum) and the girls come in later for ballet lessons with the chain-smoking Mrs. Wilkinson (the spot-on fantastic Faith Prince).

The role of Billy rotates between five boys and the night we were there local boy J.P. Viernes was playing the lead. He is mesmerizing as the young dancer, carrying the show on his pint-sized shoulders with powerful charisma, charm and energy. His dancing is sublime and inspiring and unbelievably professional.

Billy and Michael have a comical scene with coach George as they try valiantly to be good boxers, but to no avail. Michael escapes and George gives up, throwing Billy the keys to pass on to the dance instructor so she can lock up after class. Immediately Billy finds himself tangled up in a gaggle of girls who are feverishly pirouetting, and "plié -ing" as best they can. The would-be ballerinas come in all shapes, sizes and ages (the littlest one looks to be five) and they are charmingly comical as the clumsy foils to Billy's natural ability and grace.

Second-rate teacher that she is, Mrs. Wilkinson's keen eye spots talent when she sees it. She throws Billy a pair of dance shoes, clearly expecting him to join in and, over the next few months, Billy finds his true passion in dancing. What he doesn't know yet is that his talent may be a ticket out of the hardscrabble life that he lives. But it's a good bet that his father and brother won't allow Billy to dance once they find out. To their way of thinking only "poofs" do ballet.

Billy secretly continues to dance but worry overcomes him. Best friend Michael comes to the rescue. Griffin steals the scene with his matter-of-fact cross-dressing ways. He is brilliant in his advice to the hesitant Billy as well as exuberant in his flair for woman's clothing. "Express yourself," sings Michael as he throws Billy a skirt and blouse (Costume Design by Nicky Gillibrand) to put on. It's a great number and serves to give Billy the courage to continue on with his dreams of becoming a ballet dancer.

Michael is Billy's biggest support, but so is Grandma (the blithely brilliant Patti Perkins who mixes sentimentalism and "flipping the bird" to great effect) as well as Mrs. Wilkinson.

Faith Prince is a joy to behold as Mrs. Wilkinson, easily capturing the character's brashness, sarcastic humor...and warmth. In the hands of a lesser actress Mrs. Wilkinson could have easily become a caricatured stereotype but Prince infuses her with dignity, wisdom and tough, working-class grittiness. She's more than a match for Billy's dad (the perfectly cast Rich Hebert) and brother Tony (Jeff Kready) who explode with anger when they find out that she's been secretly teaching Billy how to dance and, moreover, that he has an audition with the Royal Ballet. When they quash that dream it is Billy's turn to explode in "Angry Dance."

Choreographer Peter Darling, who won the Tony for his work on Billy Elliot, has created a staggering array of acrobatics, tap, jazz and, of course, ballet including a fantasy sequence that Billy dances with his older self (Maximilien A. Baud) that is expressive and beautiful, not to mention electrifying. In "Solidarity," Darling blends the harshness of coal mining and the innocence of childhood together in a poetic dance that is just wonderful to see.

Director Stephen Daldry had his work cut out for him. Several boys share the parts of Billy and Michael and it's a large cast, but under Daldry's masterful direction, they work beautifully together creating a piece of theater magic that is bold and uplifting.

Ian MacNeil's set is a moveable masterpiece where rooms appear out of walls to bring The Players into another location all together, all in seamless fashion. The set would have been helped with better lighting. Rick Fisher's design certainly captures a mood, but the actors are often dimly lit (limited follow spots) making it hard to capture their mood at times. That said there is a moving scene toward the end when the miner's have lost their battle and don their helmets to return to the coal shaft. All the lights dim, except for those on their helmets, and they sing "We Were Once Kings," as they slowly slip from view. Brilliant.

As the miners face the fact that their way of life is ending, Billy's dad, unobserved by the boy, silently watches him dance and understands that his son may have a chance to escape. Setting aside his fears he, and eventually Tony and the rest of the community, finally support Billy in his quest to attend the audition for the Royal Ballet.

Billy Elliot the Musical is the story of endurance, dreams and expectations turned upside down. It is also the story of acceptance and love in the face of fear and destitution and it is a treasure. Take your children with you and see it while you can.

Billy Elliot the Musical
June 27 - Sept. 17
Orpheum Theatre
Running time:
2 hours and 50 minutes with a 15 minute intermission
www.shnsf.com
Photo courtesy of Joan Marcus

 

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