Billy Elliot untransferable — Page 2

how many young boy's parts are there? what is the vocal range required?

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devonian- if you were born in London, then how do you have a sense of what a non-Londoner would understand or not understand?

again.... I ask the question... if you were able to understand and enjoy it, why do you think the rest of us would not be able to understand and enjoy it? on that note, I know Americans who have gone to London to see it and have loved it. It just seems a little snobby to imply that us Americans won't get it.

Speed, I thought observation, experienceand critical analysis were the key ingredients of empathy. I put myself into the position of those people around me who needed significant levels of translation and explanation during the intermission and after the show.

I dare say quite a few people will be able to follow, but I doubt that in its current form it has the cross-over accessibility to make a huge hit. The accents, for instance, are very hard to penetrate, even for Londoners, (again, an observation based on comments by audience members).

This is not about IQ, it's about fairly obscure cultural references which reduce the universality of the show overall. I don't think I ever said U.S. audiences were too dumb. The obstacle is in the show itself. Furthermore, it is very clear that many shows fail to transfer the success they have achieved on the other side of the Atlantic: Starlight Express ran for 18 years in London but sank without trace on Broadway; The Producers is struggling, barely months into its London run; A Chorus Line never matched its American success in London. The Dance of the Vampires is still running in Germany!!!

Incidentally, Greek, I dare say most audiences would struggle to understand Les Mis if it were sung in a thick Geordie accent!

The rest of the world has for years had to adapt to American sensibilities when producing American shows, maybe it's time for Americans to adapt to (understand) the rest of the world.