#1
Posted: 10/3/08 at 12:51am
I never pay full price for a ticket. Well ... hardly ever. But this year I found myself making an exception. BILLY ELLIOT was coming to America. Finally. And I waited for discounts and realized that I hadn't been so excited about a new musical in a while so I just went ahead and splurged for seats in November. And then last night I read the reviews of the first preview, got even more excited, went on Telecharge, and purchased a ticket for this evening's performance. Again at full price. And while I still feel the pangs of guilt for shelling out so much money, it was more than worth it.
The fact that I will be able to say that I saw the second performance of this show on a Broadway stage is absolutely astounding...this show will be talked about for years to come. And rightfully so. Oh, where to start...ok here goes:
The score is gorgeous. Really deep, dark, and moody when necessary and also really upbeat, fun, and thrilling when necessary, but never banal. The score is wildly inventive and original, unlike anything I've ever heard on a Broadway stage. This is, by far, Elton John's best work for the stage to date. Lee Hall's lyrics (which sometimes get lost due to the phenomenal but at times overpowering orchestra) are smart, emotional, and full of character.
The book is where the show has the most problems, but they are very minimal, especially for a second preview. I really did like the book. I thought it was touching, funny, and ultimately very moving but I did have problems with some of the plot and character development. To me, the moment where Mrs. Wilkinson asks Billy to audition seems like it should be more significant. Even just by adding a few lines this minimal issue I had could be fixed. Also, the part of Grandma is well developed in the first half of the first act and then just kind of forgotten until the second half of the second act. But besides those minor quibbles, the other lead characters, particularly Billy and Mrs. Wilkinson, are stunningly well-developed. The book has wit, pathos, intelligence, and a way about it that is incredibly real and relatable while still managing to be near achieving greatness in its storytelling.
The cast is absolutely wonderful. This ensemble is one of the hardest working on Broadway right now. And it shows and pays off...the ensemble numbers are undeniably strong.
Haydn Gwynne is great in her role (surely she'll get a Tony nomination...hopefully for Featured Actress where she'll have more of a chance). She doesn't have the strongest singing voice in the world but her acting chops are unbeatable. Gregory Jbara is exceptional as Dad, very real and touching but still embued with humor. The rest of the principals (particularly Santino Fontana, Carole Shelley, and David Bologna who is a riot as Michael) are turning in grade A performances.
I saw David Alvarez as Billy. Stephen Daldry introduced the performance and noted that it was his first time performing this material in front of an audience. And at first you could tell he was very nervous but he shook his nerves almost immediately and sunk deep into the role. He isn't the world's greatest singer (a few pitch problems here and there and he has trouble sustaining notes) but he does a strong job when he does have to do so. And his dancing is, obviously, stunning. He has "it". That undefinable, unnamable factor that just makes you pay attention. I was very impressed by his performance. I will be seeing all three Billys and will report back after each one, but so far, this is a great start.
The sets are really beautiful (during the Act One finale dance when the underground hut rises out of the ground on stage right and Billy jumps down it, a stagehand ran onstage and stopped Alvarez from rolling over onto where the platform should have been raised already. The hut wasn't rising out of the ground. The music stopped and the lights came up and Daldry came back onstage to thunderous applause, explaining what the issue was. It took about five minutes or so and Daldry announced that they would restart the dance from when Billy was in his room, but without the room being set. So Alvarez did the dance from the top without the sets and was, again, met with much applause when he was able to do so), as is every technical aspect of the show.
Then there is Stephen Daldry's brilliant direction. It's so organic and natural that it almost doesn't feel like the actors have been directed. I hope he'll return to the stage and that this won't be his only theatrical venture. The best thing about the show, undoubtedly, is the choreography. Peter Darling's evocative, innovative, and wildly imaginative choreography is unlike anything ever on a Broadway stage. Between Daldry's direction, the technical aspects, and the beautiful choreography of Darling, during the Swan Lake number, I absolutely lost it. I don't cry when I see shows but the sheer beauty of the dance literally took my breath away and left me bawling. This, I thought as it happened, is what theater is all about. Transcendent moments like this are rare and should be treasured. I will never forget watching that number.
I lost it again during the last scene all the way through the curtain call, for different reasons. In the last scene I couldn't stop crying because it's so strongly written and acted. It touched me in a way that I didn't expect which made it all the more effective and powerful. And the curtain call, again, was an example of what theater should be. Another rare transcendent moment that just gave me chills and left me hysterically crying.
The show is not without its flaws but they are minimal and I will probably be able to identify them better when I see it again. I will be seeing all three Billys, as I mentioned, and will report back after each of them. This show is going to be a huge hit. Get your tickets now while you can, it's the closest thing to a masterpiece that Broadway has seen in years.
**** OUT OF ****
A
EDIT: I returned to the show for the next performance and caught Kiril in the role. My thoughts on him are on the second page of the thread. And I should be seeing Trent in the coming weeks as well.
EDIT 2: My thoughts on the 11/08/08 performance are on page 3.
The fact that I will be able to say that I saw the second performance of this show on a Broadway stage is absolutely astounding...this show will be talked about for years to come. And rightfully so. Oh, where to start...ok here goes:
The score is gorgeous. Really deep, dark, and moody when necessary and also really upbeat, fun, and thrilling when necessary, but never banal. The score is wildly inventive and original, unlike anything I've ever heard on a Broadway stage. This is, by far, Elton John's best work for the stage to date. Lee Hall's lyrics (which sometimes get lost due to the phenomenal but at times overpowering orchestra) are smart, emotional, and full of character.
The book is where the show has the most problems, but they are very minimal, especially for a second preview. I really did like the book. I thought it was touching, funny, and ultimately very moving but I did have problems with some of the plot and character development. To me, the moment where Mrs. Wilkinson asks Billy to audition seems like it should be more significant. Even just by adding a few lines this minimal issue I had could be fixed. Also, the part of Grandma is well developed in the first half of the first act and then just kind of forgotten until the second half of the second act. But besides those minor quibbles, the other lead characters, particularly Billy and Mrs. Wilkinson, are stunningly well-developed. The book has wit, pathos, intelligence, and a way about it that is incredibly real and relatable while still managing to be near achieving greatness in its storytelling.
The cast is absolutely wonderful. This ensemble is one of the hardest working on Broadway right now. And it shows and pays off...the ensemble numbers are undeniably strong.
Haydn Gwynne is great in her role (surely she'll get a Tony nomination...hopefully for Featured Actress where she'll have more of a chance). She doesn't have the strongest singing voice in the world but her acting chops are unbeatable. Gregory Jbara is exceptional as Dad, very real and touching but still embued with humor. The rest of the principals (particularly Santino Fontana, Carole Shelley, and David Bologna who is a riot as Michael) are turning in grade A performances.
I saw David Alvarez as Billy. Stephen Daldry introduced the performance and noted that it was his first time performing this material in front of an audience. And at first you could tell he was very nervous but he shook his nerves almost immediately and sunk deep into the role. He isn't the world's greatest singer (a few pitch problems here and there and he has trouble sustaining notes) but he does a strong job when he does have to do so. And his dancing is, obviously, stunning. He has "it". That undefinable, unnamable factor that just makes you pay attention. I was very impressed by his performance. I will be seeing all three Billys and will report back after each one, but so far, this is a great start.
The sets are really beautiful (during the Act One finale dance when the underground hut rises out of the ground on stage right and Billy jumps down it, a stagehand ran onstage and stopped Alvarez from rolling over onto where the platform should have been raised already. The hut wasn't rising out of the ground. The music stopped and the lights came up and Daldry came back onstage to thunderous applause, explaining what the issue was. It took about five minutes or so and Daldry announced that they would restart the dance from when Billy was in his room, but without the room being set. So Alvarez did the dance from the top without the sets and was, again, met with much applause when he was able to do so), as is every technical aspect of the show.
Then there is Stephen Daldry's brilliant direction. It's so organic and natural that it almost doesn't feel like the actors have been directed. I hope he'll return to the stage and that this won't be his only theatrical venture. The best thing about the show, undoubtedly, is the choreography. Peter Darling's evocative, innovative, and wildly imaginative choreography is unlike anything ever on a Broadway stage. Between Daldry's direction, the technical aspects, and the beautiful choreography of Darling, during the Swan Lake number, I absolutely lost it. I don't cry when I see shows but the sheer beauty of the dance literally took my breath away and left me bawling. This, I thought as it happened, is what theater is all about. Transcendent moments like this are rare and should be treasured. I will never forget watching that number.
I lost it again during the last scene all the way through the curtain call, for different reasons. In the last scene I couldn't stop crying because it's so strongly written and acted. It touched me in a way that I didn't expect which made it all the more effective and powerful. And the curtain call, again, was an example of what theater should be. Another rare transcendent moment that just gave me chills and left me hysterically crying.
The show is not without its flaws but they are minimal and I will probably be able to identify them better when I see it again. I will be seeing all three Billys, as I mentioned, and will report back after each of them. This show is going to be a huge hit. Get your tickets now while you can, it's the closest thing to a masterpiece that Broadway has seen in years.
**** OUT OF ****
A
EDIT: I returned to the show for the next performance and caught Kiril in the role. My thoughts on him are on the second page of the thread. And I should be seeing Trent in the coming weeks as well.
EDIT 2: My thoughts on the 11/08/08 performance are on page 3.
Updated On: 11/9/08 at 12:51 AM
I can't wait to see it!!!
