(4 / 5)
The wow factor is very much to the fore in this production of Billy Elliot – one of the most heart-warming of musicals, it tugs at the heartstrings from the moment it opens. Brought up in the tough environment of a small mining town in the north-east of England during the 1984/85 miners’ strike, young Billy’s passion for dancing leads him to follow his dream. Abandoning his boxing lessons, he secretly joins a ballet class. The only boy, Billy is the subject of much speculation and teasing – some of it malicious. On the home front, it’s even more so. Billy’s elder brother pours scorn on Billy’s dancing and does his best to nip the young boy’s emerging talent in the bud. Spurred on by his ballet teacher, who knows talent when she sees it, Billy is determined to carry on dancing.
Of the four boys who alternate in the super-demanding role of Billy, Lewis Smallman was the one chosen to open in Cardiff. His was a Billy that we all know – a schoolboy going straight to the biscuit tin when he gets home. But this Billy is still grieving for the loss of his mum, and Smallman manages this part of the role with an expertise beyond his young years, but it is his skill as a dancer that rightly steals the show.
There is star quality here. This Billy is equally at home in the comically camp dance number in which Billy and his friend Michael (Elliot Stiff) dress up on girls’ clothes to the elegant precision of a version of Swan lake performed with an older Billy (Luke Cinque-White)in a dreamlike sequence in the second half – not in the original film but blending in perfectly. Martin Walsh, as Billy’s Dad, struggling both with the deprivations of the strike with no money coming and the problems of a recently bereaved father trying to bring up a young son on his own, brings a depth of understanding to the role, displaying both toughness and vulnerability. As Billy’s dancing teacher Mrs Wilkinson, who knows talent when she sees it, Annette McLaughlin has the role off pat – under no illusions as to her own teaching, and generous in spirit, cigarette puffing when the opportunity arises and with the big-hearted generosity that characterises the north.
Peter Darling’s choreography for the tour differs slightly from the West End production, particularly in the foot-tapping number ‘Born to Boogie’ but most of the sensational dance numbers are the same – and pretty amazing they are, too, doing full justice to Elton John’s lyrical and swinging score in musical numbers that make you want to jump from your seat and join in. A small caveat –which seems almost invidious in the face of such talent – is that several cast members, including Smallman, have not entirely overcome the difficulties of the north east of England dialect.
The darker side of the story is the miner’s strike, and the stand-off between Thatcher’s government and the National Union of Mineworkers, with scenes played out at the pit face of one of the mines threatened with closure, and in the working men’s club where the miners hold their meetings, and the soup kitchen which is established there for the hungry miners and their families during the strike. Light relief is there, too, in the shape of Grandma – not always quite with it (she hides her pasty in the bedclothes much to her grandson’s disgust!). Andrea Miller’s Grandma is a great cameo, displaying a love and empathy for, and with, Billy and his dreams with which many grandparents will identify.
Overall, though, Billy Elliot belongs to the young, and the ensemble of dancers and singers more than do it justice. Bravo!
Runs until 16th July at the WMC
https://www.wmc.org.uk/Productions/2016-2017/DonaldGordonTheatre/BillyElliot/
Writer: Lee Hall
Music: Elton John
Choreographer: Peter Darling
Director: Stephen Daldry
