Billy Elliot The Musical — Page 133
Posted: 2/21/06 at 4:18pm
Where will it end? BETM lifted me onto a new plane this afternoon, though I have seen it more often than I would care to admit. The best two words I can think of to sum up the experience are Liam and Mower!
A while ago, someone posted a poll on the fansite asking us to identify our favourite dance. Obviously, we all love all of them, so it was a difficult one. It was noticeable, though, that very few of us singled out Swan Lake, even though this is a very effective and pivotal moment in the musical, a moment that shows Billy a glimpse of a possible future and gives his dad the first inkling of something special.
I think the reason for this is that it is intensely difficult for the boys to really shine at this point. They are cirumscribed and hedged in by the tightness of the dance's form and by the need to synchronise. And they have to dance in the shadow of a real live, professional, fully-formed (stop sn*ing!) ballet dancer. That observation has, to some degree, been justified by every performance I've seen.
Every performance, that is, until today's. Today Liam simply transcended all the difficulties of this number to give the most breathtakingly poised performance I have ever seen. The older Billy had only to take his lead from every move that Liam made to know that he was in safe hands throughout. Today you could almost believe that it wouldn't have mattered if they'd forgotten to attach the wire; Liam would simply have taken off all by himself!
It was the first time I'd seen Liam since August. It was very noticeable that he's worked on his voice to very good effect. Someone has got him to lengthen his vowel sounds and, in some cases, to join a couple of short winded phrases into one long phrase. This has made a big difference to the general line of his singing.
His acting is also perfect for the role. His lovely, gentle, solemn demeanour is extremely effecting, but the way he manages, at the same time, to convey the fire within is very subtle. I suspect this interpretation is built up from his own personality.
But, ultimately, you have to return to the dancing. What I have noticed about Liam is that he never ever stops looking like a dancer. Every step, every turn, every inclination of the head is exquisitely poised. So that when he goes into a mesmorizing set piece like Electricity, it is simply a natural extension of his persona. He is the walking, talking personification of Diaghilev's ideal!
Well, I've done quite a few reviews and I've praised all sorts of people, so today I'm just going to start and finish with Liam Mower. Liam, you're a star!
Updated On: 2/21/06 at 04:18 PM
Posted: 2/21/06 at 9:09pm
Posted: 2/21/06 at 9:09pm
Posted: 2/22/06 at 6:36am
Billy Elliot The Musical is good isn't it. I'm going again on Saturday.
Posted: 2/22/06 at 5:05pm
I was sitting in Pizza Express after the performance this afternoon, minding my own business, reading my book and eating my pizza (obviously), when who should walk in but the star of the show. Well, I say the star of the show, but at this point he was chatting away animatedly and generally bearing a striking similarity to a totally normal boy. Someone called out to congratulate him and he accepted the compliment with perfect charm, genuine pleasure and honest humility.
And I got to thinking about killing gooses that lay golden eggs and wondering whether it would be possible to tell him that he was wonderful so often that he would actually cease to be wonderful and become obnoxious.
I don't really believe this though. In my experience - and especially in my experience of teaching - I have noticed that, generally, people who are nice are nice; made that way by nature and by the way they have been brought up. From everything I've heard, Liam is such a person.
Then I got to wondering what happens for him after Billy Elliot. It must make him very happy to be universally acclaimed (together with the other Billies) as being simply the best. But it would be rather precarious to actually depend on being the best in order to be happy. He is so talented that it's impossible not to envisage his being involved in all sorts of exciting projects. But, let's face it, the experience he's living through now is going to be hard to better.
I'm so glad that he looks like he sort of person who - ultimately - is going to derive happiness from the things that really matter: the people whom he loves and the people who love him.
Posted: 2/23/06 at 1:09pm
'Four Leaping into the Limelight':
Matthew Koon
Age: 12
Lives: Salford, Lancashire, Parents Hilda, a teacher, and Arthur, an employment officer, are from Hong Kong.
Background: Royal Ballet School, Leeds.
Starts: Wednesday.
Going into the show because: "Dancing is my passion. I auditioned for the role in February last year and wasn't sure if I'd get the part but it feels great to have got it."
Colin Bates
Age: 15
Lives: Baltimore, Pennsylvania, with mother Donna.
Background: Played the Artful Dodger in Sir Cameron Mackintosh's Oliver. He has just finished filming a part in Robert De Niro's film The Good Shepherd.
Starts: March.
Got into the show because: "I saw the movie and really liked it. When I heard there private auditions in New York for the show, me and my mum sneaked our way in."
Layton Williams
Age: 11.
Lives: Bury, Manchester with mother Michelle, a housewife, and stepfather Curtis, a painter and decorator.
Background: No previous ballet experience. Attended Billy Elliot "academy" in Leeds.
Starts: September.
Got into the show because: "I love singing and dancing in front of an audience so when I found out I had been given the part I was ecstatic."
Dean McCarthy
Ages: 14.
Lives: Clondalkin, Dublin with his mother Lynne.
Background: Won a string of disco, hip-hop and breakdance competitions.
Starts: September.
Got into the show because: "My dance teacher found out about Billy Elliot. Before I started I felt like I could not sing and now I've been selected to perform a leading role."
There is more to the article. Here are two interesting extracts:
'This year will see Billy played by boys of black and Asian backgrounds, and as far afield as America and Ireland'.
Daldry says that 'A lot of the boys in the show don't come from very wealthy backgrounds. Almost all have been through a certain amount of bullying or abuse and have been the only boy in their dance class".
Don't take me the wrong way here, it is excellent that they are including people from different backgrounds and ethnicities - the problem is that a boy growing up in the place and time where Billy Elliot is set, would have been of English origin etc. Plus, the America kid is too old for the role.
Posted: 2/23/06 at 7:48pm
Updated On: 2/24/06 at 07:48 PM
Posted: 2/25/06 at 3:22pm
Posted: 2/26/06 at 2:07pm
Hope it comes to NY in the near future as we would definitely see it. Now looking forward to Lestat in May
Updated On: 2/26/06 at 02:07 PM
Posted: 2/26/06 at 3:44pm
Well done boys, you deserve it
What's next....!?!?!
Updated On: 2/26/06 at 03:44 PM
Posted: 2/26/06 at 10:26pm
Posted: 2/26/06 at 11:41pm
Posted: 2/27/06 at 7:58am
amyX
Posted: 3/2/06 at 7:40am
Posted: 3/5/06 at 3:06pm
I saw Stephen Daldry telling an interviewer at the Olivier awards that the most important thing from the boys' point of view was to regard the hype surrounding BETM as a special experience, something to be remembered and cherished, but probably never to be repeated. He is obviously mindful of the dangers and he and others have taken a lot of trouble over the boys' welfare. So far they seem amazingly grounded. Time will tell though whether Daldry has unleashed forces that neither he nor anyone else can control.
I suspect that we shall discover, as things unfold, that some of the boys will cope better than others, and that the main determining factor will be the quality of all the things in their lives that are not to do with Billy Elliot.
Those that can develop quality relationships and success in other ventures irrespective of fame and fortune, and who come to regard BE as a special time in their lives, but not something on which their present happiness depends, will thrive.
Updated On: 3/5/06 at 03:06 PM
Posted: 3/9/06 at 9:46am
I still don’t know the answer but I suspect it is a combination of several factors.
For a start, it is a very good story, scripted with sensitivity by Lee Hall. Having lived only a few miles from Easington for the last 50 years I can tell you he has caught the place and events of the time with breath-taking accuracy. Then there is some very emotional and stirring music from Elton John. But what takes this show to another level is the outstanding performances of the leads, especially the boys playing Billy. And here is perhaps the clue as to why this show is so important to so many people, to the point of dominating their lives if we are to believe their postings.
In the character of Billy we see a world of innocence and promise that we all once knew and to which we wish we could return, innocence not just of childhood, but innocence we had in adulthood and is now lost to us in a world of terrorism, war and identity cards. Billy represents the hope that we all still have; his quest is our quest and his success gives us hope that we too will succeed. He is niceness in a nasty world. And it works because Liam, Leon and the rest really are innocent – they still see the world as exciting and full of promise; they haven’t yet met the disillusionment that comes with age. In short, they are Billy; they are not acting at all. So we are able to share their childhood and relive our own, escaping from the harsh realities of our own daily lives and experiencing a happy ending every time we see the show, whatever is happening in our own lives. Is it any wonder people keep going to see the show again and again?
Then again, I could have got this all wrong. What do you think?
Posted: 3/9/06 at 10:53am
Being gay, I also think that the character of Michael is a big draw to a fair number of gay men - his courage in expressing himself, his joy at being himself, and not at all to be overlooked, is Billy's reaction, acceptance of Michael - and even his participation in the joy of Michael being who he is. I can tell you that if I had seen Billy Elliot as a youth, when I was confronting my own homosexuality, I would be a much different man today. I suspect that might be true for quite a number of "older" (I'm 40) gay men, especially Americans, who grew up in a culture thirty years ago that was noticably less accepting of homosexuals than it is now. If just one person, one movie, one public forum had said to me at the age of twelve or thirteen, that it was OK to be gay, my life would have gone much differently than it has. For me, of course there's some regret, even some envy, but far more there is joy that a whole generation of boys have this opportunity to learn, both the Michaels and the Billy's of the world, everything that Billy Elliot the Musical (and the film) have to offer about individuality.
There's more - of course - the teacher in Mrs. Wilkinson, the harsh but loving father, the loss of a parent, all elements that draw individuals to their own particular childhood experiences, tragedies, triumphs. But I fear this message has grown too long, already, and I will end here and let others have their say.
Posted: 3/9/06 at 2:16pm
Posted: 3/10/06 at 3:34pm
It's interesting that so many people want to see this event over and over again. I guess this is because we get almost as interested in the performers as in the character they are playing. Each of the young stars brings a new set of attributes. You see the personality of the performer shaping the portrayal of the character and the interaction between actor and character; and you see the way the varieties of portrayal spark different performances from the other actors. It's an incredible, unfolding drama.
And on Monday I hope to see the next Billy, the 'American Billy', Colin Bates, on his opening night. I'm looking forward to telling you about it.
Updated On: 3/10/06 at 03:34 PM
Posted: 3/13/06 at 10:21am
I hope we get a report on Colin's first night from those that are going to see!
I also hope others have been reading the last few replies and are formulating responsis to the amazing popularity of Billy Elliot the Musical - I'm interested to see how broad the appeal actually is.
Speak up!
Posted: 3/13/06 at 10:48am
And myself to some extent of the situation hehe. :)
Updated On: 3/14/06 at 10:48 AM
Posted: 3/15/06 at 2:18pm
Colin's acting is very strong indeed. He combines a sensitive approach to the more intense moments, particularly the letter scenes, with an impishness which defuses the sentimentality very nicely.
His ballet is extremely polished. Swan Lake was very assured indeed. But his dancing is also very powerful and characterful. His Angry Dance was one of the grittiest I'e seen.
His singing was also very sound.
He brought out strong performances from all the other cast members, working particularly well with Brad, who played Michael.
Given his age, I suspect that his will be one of the shorter runs.
See him!
Posted: 3/15/06 at 2:28pm
Thanks!
Updated On: 3/15/06 at 02:28 PM
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