Billy Elliot and the broadway changes!

[rosscoe(au)]

Posted: 1/2/08 at 6:27pm

This is the review from Variety of the production that just opened in Sydney Australia.

It also speaks of the changes that took place from the West End staging, as the Australian production is really, in a way an out of town tryout.

A Universal Pictures, Working Title Films and Old Vic Prods. presentation of a musical in two acts with music by Elton John, book and lyrics by Lee Hall. Directed by Stephen Daldry. Musical direction, Stephen Amos. Choreography, Peter Darling.

Billy - Rhys Kosakowski
Michael - Landen Hale-Brown
Debbie - Taylor-Rose Campanella
Small Boy - Cameron Holmes
Tall Boy - Luke Haberecht
Mrs. Wilkinson - Genevieve Lemon
Dad - Richard Piper
Grandma - Lola Nixon
Tony - Justin Smith
George - Linal Haft
Mr. Braithwait - John Xintavelonis
Dead Mum - Samantha Morley
Older Billy - Joshua Horner

For its international debut in Sydney ahead of a Broadway bow in fall 2008, London hit "Billy Elliot the Musical" has undergone a slight but significant makeover, with softer Thatcher themes, lighter Geordie accents and cranked-up joie de vivre. For Aussie auds this tuner will recall local Tap Dog Dein Perry's semi-biopic "Bootmen" in its portrayal of an artistic tyke struggling for acceptance in a grim working class town. That said, Stephen Daldry's "Billy" is an infinitely more affecting package, wrapped up with an extended, all-singing, all-dancing showcase finale.
Judging by the opening-night enthusiasm, "Billy Elliot" will enjoy a strong following in Oz, despite a national market awash with big musicals right now. "Monty Python's Spamalot" has just opened in Melbourne, where "Priscilla, Queen of the Desert" is also playing. "Miss Saigon," "The Phantom of the Opera" and "The Rocky Horror Show" are touring nationally, and "Wicked" opens next year.

Despite the competition it makes sense that this West End hit should arrive in Oz in advance of Broadway given the political parallels between the U.K. and former colonial outpost Australia.

Among changes made since London are the inclusion of a striking shadow-dancing scene, occasionally glitzier staging, a softening of the political diatribes, a cranked-up angry dance and dismissal of the onstage judging panel at Billy's Royal Ballet School audition.

However, these tweaks are hardly noticeable as the tuner manages to maintain its anti-Tory heat while being thoroughly comprehensible to Aussie auds.

The tale is now familiar: Miner's son Billy swaps boxing for ballet in a Durham county village fraught with tension over the 1984 miners' strike that split the country between the working class and Margaret Thatcher's Conservative Party revolutionaries.

This narrative template of an artist breaking through convention is hardly new to either film or musical theater, yet "Billy Elliot" connects with audiences through its empathetic portrayal of very nonshowbiz working class types, and by showcasing some very talented juniors. There's something quite magical about following the journey of a young teen through this kind of uplifting show.

Beyond Daldry's very theatrical staging, Lee Hall's expressive book and Elton John's erratic yet ultimately endearing music, the show will always stand -- or pirouette -- on the competency of its young leads, who supply much of the vitality.

One of five current Sydney alternates in the title role, Rhys Kosakowski is a knockout -- a particularly joyful and technically proficient dancer. The troupe of ballerinas are an exuberant bunch, and, like Kosakowski, they blossom in form and enthusiasm through the show.

As Billy's mischievous, occasionally cross-dressing pal, Michael, Landen Hale-Brown milks his role for all it's worth, much to the audience's delight. And the impact of the profanities spouting from the mouths of these babes was never likely to offend Oz sensibilities.

The older cast members are likeable but never likely to steal the show from the kids. Genevieve Lemon's Mrs. Wilkinson is a comic delight, although her moves are less than might be expected of a dance teacher. Richard Piper is underused as Billy's Dad. Ultimately, however, the ensemble is strong, with no weak links.

John's music is not as catchy as his score for "The Lion King," but he manages to make far more out of the normally dour protest-song genre and his big number, "Electricity," is, well, electric.

More than one option(Co) Working Title Films
(Co) Working Title Television
More than one option(Person) Lee Hall
Play as Source Material, Screenplay, Writer
(Person) Lee Hall
ActorMore than one option(Co) Billy
(Film) Billy
(Person) Billy
(Person) Gerard Valett
(Tv) Billy
Series Information, Seasons, Credits, Awards
(Tv) Billy
Series Information, Seasons, Credits, Awards
(Person) billy
More than one option(Film) The Phantom of the Opera
2004 - Gerard Butler, Joel Schumacher
(Film) The Phantom of the Opera
1989 - Robert Englund, Dwight Little
(Film) The Phantom of the Opera
1962 - Herbert Lom, Terence Fisher
(Film) The Phantom of the Opera
1991 - David Staller, Darwin Knight
(Film) The Phantom of the Opera
Julian Sands, Dario ArgentoMore than one option(Film) Cattiva
(Film) Wicked
Sets, Ian MacNeil; costumes, Nicky Gillibrand; lighting, Rick Fisher; sound, Paul Arditti; musical supervision and orchestrations, Martin Koch; technical director, Cass Jones; associate director, Rainer Fried; resident choreographer, Tom Hodgson. Reviewed, opened Dec. 13., 2007. Running time: 2 HOURS, 55 MIN.



With: Maureen Andrews, Tony Cogin, Michelle Collins, Grant Dale, Stephen Davison, Colin Dean, Scott Hili, Glen Hogstrom, Caroline Kasper, Leonie Page, Simon Roborgh, Matthew Serafini, Nathan Sheens, Clive Smither, Gerry Symonds, Matt Trent, Paul Whitley, Tracey Wilson, David Wynen, Prudence Williams, Kate Grima-Farrell, Sarah Langberg, C.J. Polder, Jessica Kenny, Elishia Semaan, Taryn Carson, Jessica Reid, Morgan Simon, Rosemary Schiacchitano.

[BroadwayEnthusiast2]

Posted: 1/2/08 at 6:48pm

It seems like quite a bit of changes.

"Among changes made since London are the inclusion of a striking shadow-dancing scene"

*Double arm pump*

[WickedBoy2]

Posted: 1/2/08 at 6:53pm

So Broadway doesnt get the award winning production of 'Billy Elliott' that the world raves about- simple!

[HeyMrMusic]

Posted: 1/2/08 at 9:15pm

Well, shows like Wicked and Avenue Q have changed after the Tonys, especially to accommodate international productions. It makes sense that Billy Elliot would have to undergo at least some changes so that it makes sense to American audiences. I'm very excited to see this.

~Steven

[B3TA07]

Posted: 1/2/08 at 9:19pm

"So Broadway doesnt get the award winning production of 'Billy Elliott' that the world raves about- simple!"

Isn't it common knowledge on here that it is coming to the Imperial Theatre next Fall?

[winston89]

Posted: 1/2/08 at 10:06pm

Yes it is common knowledge that this show is going to go to the Imperial in the fall.


However, I am not suprised that they did away with some of the thatcher bits of story line. Only because in England that is very common history and any one from England knows about it.

But, in America it is different. The average Joe American doesn't know about Thatcher and the minors. I wouldn't be suprised if they have a few of the characters just say the basic bits of information needed to follow the story. That way the audience watching it has an understanding of what is going on onstage.

[DrTheatre]

Posted: 1/2/08 at 11:25pm

I am sad about some of the changes that were made. I had a lot of American Friends who went to London to see the show and understood a lot of the show, even the Thatcher references. I mean come on, I can see how they would change things a bit for American Audiences but America fell in love with Billy Elliot mainly for who he was and the story. Theater is also supposed to teach you a lot and I hate to down size a show just because American's wont' understand it. Keep as it is, and for goodness sake learn something new for a change.

[ruthiefan_felix]

Posted: 1/2/08 at 11:30pm

I wanna watch the new changes!!! esp the 'cranked up angry dance' !!!

[Laurelin]

Posted: 1/3/08 at 12:42am

I've read this Variety review before and I wondered then what they meant by "a softening of the political diatribes". I've seen Billy Elliott in both London and Sydney and as far as I can tell the "political diatribes" are not changed in the slightest. The film at the beginning is a bit longer but that's about it.

Yes they have added the "shadow dancing scene", changed tbe choreography of Angry Dance quite a bit and eliminated the audition panel (it now goes from the scene between Dad and the ballet dancer outside the audition room straight to the scene after the audition when Billy hits the other boy). Those are the main differences. Plus there are a couple of slight differences to the staging in Shine and Born to Boogie as well as other bits and pieces, but none of that affects the so-called "political diatribes". "Merry Christmas Maggie Thatcher" is exactly the same as London as is most of the show.

If anyone really wants to know the differences between the Sydney and London productions you can read these two threads, one from the Australian Billy Elliott Board and one from the London Billy Elliott Board (these posts were made throughout the preview period in Sydney and so changes kept happening as Stephen Daldry kept trying things out, plus things get *really* detailed on the London board - and a little heated sometimes - I suppose people just don't like change):

http://www.friendsofbillyoz.com/FriendsF/viewtopic.php?t=436

http://www.billyelliotthemusical.me.uk/forum/viewtopic.php?t=9167

[DMsquared2]

Posted: 1/3/08 at 10:54am

Maybe they'll change the set 'cause it is FUGLY!

[Craig]

Posted: 1/3/08 at 11:02am

Just because these changes were made for Oz doesn't mean they will be the same for the US.

Why don't we wait until it actually starts here before rushing to the offense or defense.

[knicknut]

Posted: 1/3/08 at 12:12pm

Well, I consider myself decently well versed in history and world affairs, but I was pretty lost during the Merry Christmas Maggie Thatcher song and didn't quite know what was going on or why. I would think a large portion of Americans would be lost, too. I think some additional dialog explaining the situation and highlighting the conflict would be necessary. Because it's so over-the-top that if you don't get the references it seems very non sequitor.

[ruthiefan_felix]

Posted: 1/3/08 at 12:47pm

wow did Corey went over to Oz to do the role?? when was that and why was that??

[Laurelin]

Posted: 1/3/08 at 4:20pm

Corey was flown over because Nick Twiney fractured his wrist at home literally days before he was due to do his first performance as Billy. They did a week or two with only three Billys but because of our child labour laws, it became necessary to bring an extra Billy over from London and Corey was chosen. Nick must be just about recovered (he got his plaster off on opening night - 13 December), so I presume Corey will be back in London shortly.

[devonian.t]

Posted: 1/3/08 at 4:41pm

I'm sure no final decisions have been made yet about the production that will open at the Imperial. The production team will watch how the show plays in Australia and make adjustments as they feel necessary.

Personally, I feel comfortable that the team that made the right decisions first time round, have a good chance of getting it right again.

Have to disagree about the set being ugly, I'm afraid. Totally in keeping with the theatrical style of the production as a whole.

[dramarama2]

Posted: 1/4/08 at 6:42am

What is this "Shadow Dance"???

I saw the show in November before it opened.

I'll tell you first hand that the "Angry Dance"...is LOUD! The panel of judges is now a recorded single female voice. The political changes are nothing...just make sure you know who Margaret Thatcher is lol.

It's pretty awesome.

Updated On: 1/4/08 at 06:42 AM

[billynj]

Posted: 2/15/08 at 8:21am

I am really looking forward to this show, I hope they don't dumb it down

[songanddanceman2]

Posted: 2/15/08 at 8:56am

Australia is a lot more versed in all things British for obvious reasons, they tend to understand what goes on here and have a good knowledge of the Thatcher years and the miners strikes.
So i think it's safe to say if those changes had to be made for an Australian production they will remain (or change more) for the US production

It still amazes me that Americans seem to struggle with issues and political background in the UK when people in the UK seem to have a great understanding and interest in american history and politics (in fact thats all our news channels are flooded with at the moment)

[Anastasia_Beaverhausen]

Posted: 2/15/08 at 10:03am

"It still amazes me that Americans seem to struggle with issues and political background in the UK..."

Seriously? No offense, but I think you underestimate most Americans. I have seen Billy Elliot in London twice and had no problem understanding the show. You don't have to know much about the miner's strike, or the history behind it, to enjoy it. The show itself does a great job describing what is happening and why and it is detailed in the souvenir program for those who want to know more about it. There are also term definitions for some of the words we Americans may not be familiar with.

They are making the changes for Dick & Jane tourist and for no other reason. It's a smart show, it's not a difficult show to understand.

Updated On: 2/15/08 at 10:03 AM

[songanddanceman2]

Posted: 2/15/08 at 10:11am

Sorry it was a bit of sweeping generalization lol

[broadwayfan7]

Posted: 2/15/08 at 10:19am

Thanks for posting!

[Anastasia_Beaverhausen]

Posted: 2/15/08 at 10:20am

he he, ok, forgiven!

[p.s.]

Posted: 2/15/08 at 11:16am

I'm happy to hear that they've lightened (and not eliminated) the Geordie accents. When I saw it in London last month, I thought I would have understood the politics and references much better if more of the dialogue was in (for me) understandable English.

And the impact of the profanities spouting from the mouths of these babes was never likely to offend Oz sensibilities.

How about Broadway audiences (New Yorkers and tourists)? Do you think there will be some sort of PG (if not PG-13) type advisory?


p.s. I join those predicting a monster hit in the U.S.

pps: Prediction not intended to refer to any other recent Broadway monster.

[Scripps2]

Posted: 2/15/08 at 2:34pm

Howay New York!

I think a good understanding of what the miners' strike was all about adds greatly to the tension and emotional impact of Billy Elliot. I went to see it not expecting to enjoy it and found myself overwhelmed by the rollercoaster of seeing events in my own country during my own lifetime portrayed like the fall of Saigon in Miss Saigon...

The 1940s newsreel at the start is important when the Labour party politician speaks of "this great experiment of socialism in a democracy" - 40 years later Conservative Mrs Thatcher declared that experiment a failure by introducing a whole range of radical economic reforms. The miners' strike was an attempt by the Union leaders to bring down her democratically elected government because they didn't agree with those reforms, and the miners themselves were pawns of their pig-headed leadership (notice the puppets of the union leaders are just as hideous as those of Mrs T and her supporting politicians in Merry Christmas Maggie Thatcher). She knew well in advance that she was likely to encounter a miners' strike and so stock-piled enough coal to keep the country running for three years so any strike was bound to fail, and it did. But only after a year of violence and suffering for the miners and their families that could have been lessened had their leadership been able to read the writing on the wall.

For me the journey made by Billy's dad as he reluctantly realises this is an important counterpoint to the journey made by Billy. Being the same age as Billy Elliot at that time and looking back now makes me realise just what a significant decade the 1980s was in terms of post-war UK history and that is why Blair and Brown have both paid homage to Margaret Thatcher since. I hope this helps readers' appreciation of Billy Elliot when it arrives in New York.

[Craig]

Posted: 2/15/08 at 2:44pm

I'll post again that just because changes were made in one place does not mean they will be kept in the Broadway production. Fact is - we don't know until it's actually staged here. Anything other than that is complete speculation.