Billy Elliot

After 7 years since opening in London to what critics called ‘the best British musical since Oliver!’ Billy Elliot is still packing them at the Victoria Palace Theatre. A 10 time Tony Award winning Broadway production has since been and gone, as well as amateur theatre productions taking place up and down the country as part of Billy Youth Theatre, along with a North American tour.

The show remains fresh and lively, aided by a highly energetic ensemble of exceptionally talented children, headed by Billy himself, who at this performance was played by Kaine Ward. With young performers excelling in the West End over at Matilda, it is encouraging to see the standard remain consistently high in a long running production, especially in a show that relies so heavily on the ability of the young cast.

Stephan Daldry’s direction has moments of genius as well as moments that make you wince. The piece is at its best when the full ensemble interact throughout numbers such as ‘Solidarity’ and ‘The Stars Look Down’ where the Easington Mining community is faithfully presented onstage with the young dancers acting as a central metaphor between the divided police and striking miners. More intimate scenes are often played for laughs, and too much emphasis is placed on the humour of the north/south divide, which is particularly cringe worthy during Billy’s audition for the Royal Ballet School where social stereotypes begin to affect the honesty of the rest of the show. The set is multifunctional and refreshingly non-flashy, leaving it to the cast to add the magic in breakout imaginative moments such as ‘Shine’ and ‘Expressing Yourself’.

Choreographer Peter Darling creates a world where every step feels like a dance as the ensemble move effortlessly around the stage with complete precision and stylisation. As Lee Hall’s book begins to wane in the second act, the show is saved by a traditional nod to the Act Two dream ballet of musicals gone by, as we see Billy dance with his older self, played expertly by Barnaby Meredith. Although this is not quite Agnes de Mille, the touch is appropriate and allows for a more powerful ending than the film, as Billy leaves to go to London to pursue his dream, as the mining union succumbs to Thatcher's demands.

The score is not one of Elton John’s best musical outings (in my mind that accolade belongs to ‘Aida’) and overall it is the smaller moments of the show that are musicalized most successfully. ‘The Letter’ in which Billy reads to Mrs Wilkinson a letter that has been left for him from his dead mum is a powerful moment, skilfully directed and delivered by Kay Milbourne. Likewise ‘He Could Be a Star’ leaves the audience floored as Billy’s Dad and Brother begin to see his talents as a meal ticket out of a folding community. The musical direction by Martin Koch remained tight throughout despite the conductor's visible use of his Kindle throughout the show, which seemed unprofessional and distracting to those in the circle who could see him flicking through The Hunger Games or similar…

Gillian Bevan lacked a certain power as Mrs Wilkinson, as many of her lines fell flat and her vocals failed to soar above the orchestra at many points. As a native North-Easterner I was ready to spot a fake accent a mile off, and hers was the most muffled and hardest to understand. Overall the adults are out shadowed by the young cast, and this show quite rightfully belongs to Billy, who delivers a top class performance worthy of any West End performer three times his age.