It is no wonder that two years ago Broadway crowned “Billy Elliot” its Best Musical, for it is a triumph.
The musical leaves you not only humming Elton John’s catchy tunes but also contemplating Lee Hall’s multi-tiered story.
Down the aisle of the Paramount Theatre comes a little boy with a portable radio and up on the stage he climbs where he becomes one of kids of the miners living in a northern England town in 1984. The miners are wracked by flagging coal deposits and a government, then overseen by a conservative Margaret Thatcher. The miners, who have little to begin with, are poised to strike. The mining story is based on real events. In 1984, coal mines throughout Great Britain were being closed. Thousands of miners went on strike and clashed with police. After a yearlong strike, the miners gave in and trade unions suffered.
In the middle of the economic storm is Billy Elliot, son of one of the old-time miners and younger brother to one of the more outspoken and angry miners. Billy and his buddy Michael take boxing lessons for 50 pence every week at the local community center. But Billy shows no interest and staying late one day, stumbles into Mrs. Wilkinson’s ballet class. The light of self-actualization fills Billy though his blue-collar upbringing nearly suffocates his discovery.
Meanwhile, the town is in upheaval as the strike commences and the miners are forced to make hard, life-changing choices.
The dancing and hilarious dialogue, along with the bright light of children’s imaginations, move in perfect contrast with the gray hopelessness of the men and their tattered coal-mining town. And Billy’s daydreams of his lost mother are equally powerful.
While the star of Billy Elliott might be the story itself and John’s wonderful songs, the performances were amazing. Faith Prince commanded attention as Mrs. Wilkinson, the chain-smoking ballet instructor with a big heart. Jeff Kready who plays her assistant Tony, a leather-clad, frizzy-haired relic, is hilarious as is Jacob Zelonky who plays Billy’s best friend Michael. Zelonky nearly steals the show with a charismatic rendition of “Expressing Yourself.” Then Billy, played Thursday evening by Daniel Russell, follows it with heart-rending “Dear Billy.” And Russell, guided by inspiring choreography of Peter Darling, is a true talent, leaping, tapping and pirouetting with ease.
Billy’s dad and brother, played by Rich Herbert and Joel Blum respectively, were great counterpoints to one another in a story that still holds up – especially in this economy. Should those cleaved to the old-ways of the world fight the good fight? Or is it just nostalgia that leads them on? Billy Elliot’s universal story carries with it all the more resonance here in Washington, with so many people out of work (ironically the very same who are unlikely to afford a ticket to the show), the wane of industries such as manufacturing and the questions looming around unions. And next to this quandary is the clear notion to be yourself above all else.
Billy Elliot the Musical plays Seattle’s Paramount Theatre through April 3. Tickets start at $25.50 and are available online at www.stgpresents.org and www.tickets.com, by calling 877-STG-4TIX (784-4849) or in person at The Paramount Theatre Box Office (Monday through Friday, 10 a.m. to 6 p.m.).
The musical leaves you not only humming Elton John’s catchy tunes but also contemplating Lee Hall’s multi-tiered story.
Down the aisle of the Paramount Theatre comes a little boy with a portable radio and up on the stage he climbs where he becomes one of kids of the miners living in a northern England town in 1984. The miners are wracked by flagging coal deposits and a government, then overseen by a conservative Margaret Thatcher. The miners, who have little to begin with, are poised to strike. The mining story is based on real events. In 1984, coal mines throughout Great Britain were being closed. Thousands of miners went on strike and clashed with police. After a yearlong strike, the miners gave in and trade unions suffered.
In the middle of the economic storm is Billy Elliot, son of one of the old-time miners and younger brother to one of the more outspoken and angry miners. Billy and his buddy Michael take boxing lessons for 50 pence every week at the local community center. But Billy shows no interest and staying late one day, stumbles into Mrs. Wilkinson’s ballet class. The light of self-actualization fills Billy though his blue-collar upbringing nearly suffocates his discovery.
Meanwhile, the town is in upheaval as the strike commences and the miners are forced to make hard, life-changing choices.
The dancing and hilarious dialogue, along with the bright light of children’s imaginations, move in perfect contrast with the gray hopelessness of the men and their tattered coal-mining town. And Billy’s daydreams of his lost mother are equally powerful.
While the star of Billy Elliott might be the story itself and John’s wonderful songs, the performances were amazing. Faith Prince commanded attention as Mrs. Wilkinson, the chain-smoking ballet instructor with a big heart. Jeff Kready who plays her assistant Tony, a leather-clad, frizzy-haired relic, is hilarious as is Jacob Zelonky who plays Billy’s best friend Michael. Zelonky nearly steals the show with a charismatic rendition of “Expressing Yourself.” Then Billy, played Thursday evening by Daniel Russell, follows it with heart-rending “Dear Billy.” And Russell, guided by inspiring choreography of Peter Darling, is a true talent, leaping, tapping and pirouetting with ease.
Billy’s dad and brother, played by Rich Herbert and Joel Blum respectively, were great counterpoints to one another in a story that still holds up – especially in this economy. Should those cleaved to the old-ways of the world fight the good fight? Or is it just nostalgia that leads them on? Billy Elliot’s universal story carries with it all the more resonance here in Washington, with so many people out of work (ironically the very same who are unlikely to afford a ticket to the show), the wane of industries such as manufacturing and the questions looming around unions. And next to this quandary is the clear notion to be yourself above all else.
Billy Elliot the Musical plays Seattle’s Paramount Theatre through April 3. Tickets start at $25.50 and are available online at www.stgpresents.org and www.tickets.com, by calling 877-STG-4TIX (784-4849) or in person at The Paramount Theatre Box Office (Monday through Friday, 10 a.m. to 6 p.m.).
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