A Billy Elliott Reevaluation

[MarkBearSF]

Posted: 1/20/17 at 1:25am

Last night, taking advantage of my one month BroadwayHD subscription, I decided to view Billy Elliott Live. It was not the happy remembrance I had expected. (I saw the NY OBC in 2009 on my 25th anniversary with dear friends, after a pre-show dinner at the now-gone Four Seasons). I thoroughly enjoyed the show back then, sure that it was a serious contender in the musical comedy firmament. Of course, before seeing the show, I had learned the score - and had seen the original movie on a flight some years before. 

Watching it last night, my opinion was shattered. I support kids following their dreams and becoming dancers and dressing how they want. And I support unions, socialism and hatred of Maggie Thatcher. But the book just puts a lot of stuff out there and hopes the audience will make the connections and the score seems to just put opposing themes against each other for drama but without any resolution. Also - I'm a gay guy who has lived in San Francisco for 40 years, so I love a fanciful drag number, but WTF is that Expressing Yourself number doing in the show?

Still, better than Lestat.

Updated On: 1/20/17 at 01:25 AM

[dramamama611]

Posted: 1/20/17 at 5:33am

I saw the show 3 or 4 times within the first year to 18 months on bway. I enjoyed it less each time, for many of the reasons you state. I also became less enamored of the boys...qhile all wonderful dancers, they were not wonderful actors/singers.

[aaaaaa15]

Posted: 1/20/17 at 8:31am

Next to Normal should have won. Yes, I'm still bitter.

[Mister Matt]

Posted: 1/20/17 at 3:12pm

But the book just puts a lot of stuff out there and hopes the audience will make the connections

I had no trouble following the book and making the connections.  What was unclear?

and the score seems to just put opposing themes against each other for drama but without any resolution.

I'm not sure what you mean.  Are you talking about Solidarity or other moments in the score?  What resolution did you require?  

Also - I'm a gay guy who has lived in San Francisco for 40 years, so I love a fanciful drag number, but WTF is that Expressing Yourself number doing in the show?

It was an extension of Michael's personality and philosophy, which is essential to Billy's development and understanding of himself.  Setting this to a production number where Billy is drawn in to Michael's fanciful world not only serves as a theatrical device to add levity to the show (as is commonly done in conventional musical theatre), it makes perfect sense for that particular style of number to be attached to the character at that moment in the story.

I first saw Billy Elliot in London in 2009 and had to be dragged to see it.  I'd only ever heard the cast recording, which didn't leave much impression on me at the time.  After seeing it that first time, I was truly amazed at what a beautiful and cohesive piece of theatre it was.  I saw it a few more times in Chicago and also attended the screening of the broadcast in the movie theatre.  The show held up for me every single time and I still think Solidarity is one of the most brilliant numbers in musical theatre of the 21st century thus far.

[mar6411]

Posted: 1/20/17 at 3:32pm

Mister Matt said: "The show held up for me every single time and I still think Solidarity is one of the most brilliant numbers in musical theatre of the 21st century thus far.

Completely agree - about the show and about Solidarity.  I saw it twice on Broadway and once on tour and wished I could have seen it again.  I loved it.

 

[mpkie]

Posted: 1/20/17 at 3:34pm

I saw the London production in 2013... my friend wanted to see something "with dancing in it", so I bought tickets last minute from one of those discount stands... terrible seats but I was thoroughly moved by the show and the Billy and Michael that we saw.

Afterwards, I watched hours and hours on YouTube of different Billy Elliotts and ended up rewatching the movie twice the past couple of years (the first time I saw the movie was when it first came out and I was still a young teenager then, it had no impression on me that time and actually didn't remember seeing it, I may have fallen asleep, haha).

I haven't seen the stage production since, but would love to... without being able to revisit it again, I have nothing to "reeavluate" it with, so it still remains one of my favorite shows. Of course, I feel the movie is much more solid. I should go watch it again...

[Mister Matt]

Posted: 1/20/17 at 3:52pm

You can reevaluate it as often as you like.  Used on Blu-Ray for around $10.

https://www.amazon.com/Billy-Elliot-Musical-Live-Performance/dp/B00NXR1EEI/ref=sr_1_7?ie=UTF8&qid=1484945511&sr=8-7&keywords=billy+elliot

[mpkie]

Posted: 1/20/17 at 3:56pm

thanks :) but I think seeing it live usually adds a little special something

[Mister Matt]

Posted: 1/20/17 at 4:17pm

Oh, I agree.  It's just no longer an option.

[jo]

Posted: 1/20/17 at 4:53pm

mar6411 said: "Mister Matt said: "The show held up for me every single time and I still think Solidarity is one of the most brilliant numbers in musical theatre of the 21st century thus far.

Completely agree - about the show and about Solidarity.  I saw it twice on Broadway and once on tour and wished I could have seen it again.  I loved it."

 

I have to agree with both of you. I first saw the show in London before it transferred to Broadway.  It was enthralling and thought it was not just an excellent piece of musical theatre but also  reflected a very good portrait of a certain segment of English society -- the accents  ( which I could not understand occasionally) even added to the charm of the show for me. Of course it was also the dancing which led me to chase the show to Broadway when it opened on Broadway.  I was lucky to have seen the show at the Imperial on the front or second row because I could see the electrifying footwork close up!

I do have the DVD.

 

 

[bdn223]

Posted: 1/20/17 at 5:04pm

I remember that the National Tour actually received some mixed-negative reviews from critics who reviewed the production positively when it was on Broadway. They had similar problems with after multiple viewings when the awe struck nature of the performances by Billy and the rest of the kids fades the shows flaws become glaringly apparent. 

In other words its a great production of a decent show.

[Mister Matt]

Posted: 1/20/17 at 5:14pm

Which critics?  I don't remember that at all.

[Someone in a Tree2]

Posted: 1/20/17 at 10:07pm

Seeing the production first in the West End, I felt BILLY ELLIOTT was perhaps the greatest musical of the 1st decade of the 21st century. An absoultely thrilling evening that brought us to tears many times, even despite seeing only an average Billy in the role. I didn't care much for Michael's "Express Yourself" either, and realized later that the score, though tuneful, had amateurish lyrics scattered throughout the evening. 

But you know what? It didn't matter a bit-- the core of the show was so strong and pure and so well expressed in staging and choreography that I was in awe of the whole evening. (Has any scene in a musical more beautifully expressed the longing connection between a boy and his adult self than that pas-de-deux on wires?) 

I saw the show twice more in the West End, each time to equal effect. The one time I caught the show on Broadway was the only time the show didn't quite work for me. Maybe it was the challenge of faking those accents. Maybe it was the tacky sequined portals added to the already garish "Express Yourself" number. Something was off. I can only sympathize with those folks who base their opinion of BILLY on the Broadway show alone-- they missed the most perfect rendition this show ever had, across the pond in London where it belonged.

[KathyNYC2]

Posted: 1/21/17 at 12:59am

I saw this later on in the run on Broadway and was underwhelmed. I don't remember who my Billy was but he was just adequate as was the rest of the cast at the time. There were moments that were wonderful of course but overall I didn't get the hype. The dancing dresses seemed completely out of place and my favorite moment in the entire show was the amazing curtain call. Also a very young Ava DeMary stood out to me as the tiniest of the ballet dancers (and then I later saw her in Matilda). 

I then saw the recent filmed version from London and was totally impressed and thought the cast was fantastic and brought the show to life for me (though the dancing dresses were still ridiculous). But I wished I had seen it on stage to give it another chance with perhaps a stonger cast and production  than I originally saw. 

[Jarethan]

Posted: 1/21/17 at 2:22pm

I thought that there were some moments of brilliance, but I also thought there was a lot of filler, particularly in the first half of the act, in which I was completely underwhelmed by the mediocrity of the score.  It was as if someone said 'we need to give grandma a song', whether it is any good or not.

I did not like the drag number...don't know why.  Just felt it was trying to hard to pander to the audience.

On the other hand, I thought the Swan Lake number was gorgeous -- unfortunately for Elton John, far and away there best music in the show -- and loved the Solidarity number, with one exception.  I found Billy's screaming very distracting...it didn't add anything and really felt like he had Turrets.  Turned a 10 rating into an 8, which is still high, but really hurt.

I saw two of the three originals and thought that both were excellent...did not see Kyril K, who I understand was the best dancer...both I did see seemed excellent in the dance numbers to me.

The biggest weakness to me, however, was the score...just too many mediocre filler songs, to repeat myself.  Next to Normal's score was far superior.

[GiantsInTheSky2]

Posted: 1/21/17 at 3:08pm

I find it so interesting that many enjoy it less and less with each experience. I saw the national tour in 2010 (I believe) and the Broadway production a year later, and loved it both times. I plan on ordering the DVD soon, so I'll see if anything changes for me. I loved the show both times I saw it, maybe even more the second time. 

[Mister Matt]

Posted: 1/21/17 at 3:09pm

It was as if someone said 'we need to give grandma a song', whether it is any good or not.

It was wonderful.  One of my favorite numbers.  It added depth to the character and provided a bonding moment Billy needed, knowing he had at least one advocate in his family on his side.  And the choreography was gorgeous.

and loved the Solidarity number, with one exception.  I found Billy's screaming very distracting...it didn't add anything and really felt like he had Turrets.

I don't remember Billy screaming during Solidarity. Did you mean his Angry Dance?

[Someone in a Tree2]

Posted: 1/21/17 at 3:38pm

I agree with those who say that much of the score is second rate stuff-- "Shine", "Express Yourself", "Born to Boogie", "He Could Be a Star"-- even "Electricity" has a pretty pedestrian melody-- it sounds like 100 other equally adequate Elton John tunes. 

BILLY ELLIOTT is that great conundrum to me, one of the most brilliant shows ever created with one of the most mediocre scores. But when in the middle of "Solidarity" Mrs. Wilkinson pauses to adjust Billy's first arabesque with "wrist-- tummy-- chin", I always tear up at the emotion those words hold. It's the purest form of musical theater joy.

Updated On: 1/21/17 at 03:38 PM

[Mike66]

Posted: 1/21/17 at 4:32pm

Funny that this post would come up right now.   I was thinking very similar thoughts earlier this week as I scanned over old Playbills.

When the show opened and I saw it with the OCR I remember enjoying it tremendously, and during the Curtain Call, saying enthusiastically to my partner "Well they can give them the Tony right now."

Later that season we saw "Next to Normal."   I thought it was fabulous.

On Tony night, I remember I couldn't decide between the two.....

Fast forward to now -- "Next to Normal" is regularly in my mind -- for the story, for the actors, for the music --and mostly for the message (From the finale) --You don't have to be happy at all to be happy you're alive.  Aint that the truth.  (especially this weekend).

Billy Elliott has just faded away.  It wasn't bad, I'm not dissing it. But, as the years go along, it moves further back in my memory -- like who won the Super Bowl that year.  It was  great fun.  I enjoyed the heck out of it.

But it didn't teach me anything about me.  Or about the world.  And I've just moved on.

m

[Comden Green]

Posted: 1/21/17 at 7:52pm

When I saw original bw cast I didn't really care for it as a whole.  The miners song(s?). Seemed repeated adnauseum. And I love men's strong voice songs like that but it was just too much. 

I was pretty close - center orchestra but frankly I just didn't care for jabarras performance.  It seemed like it was little more than a permanent scowl when the part was so complicated.  

And. oh my "electricity".  The kid can't express what dancing means to him then suddenly there is no more eloquent kid on earth.      Couldn't (and still can't) suspend disbelief for that one.   (Side note. There seems to be the same conundrum in waving through a window in DEH - tongue tied one moment and perfect word choice in the song.  - no problem with that. They make it work   Didn't in BE)

(But Patricia Neal sat directly in front of me and we had a nice little back and forth.  So it was a wonderful night)

seeing it later in the movie theater I suppose I could relax (since I had paid only $15 bucks?) I did enjoy it more.     Still not a great one but lots of parts to appreciate.     The source film though is pretty much perfection.   

Updated On: 1/22/17 at 07:52 PM

[darquegk]

Posted: 1/21/17 at 9:48pm

I played the Pit Supervisor in the licensed regional premiere in Pittsburgh- it was very well received and resonant for the people who came to see it. Maybe it's because just twenty years or so ago, our area WAS a depressed ex coal and steel town.

[bdn223]

Posted: 1/22/17 at 11:50am

Comden Green said:

And. oh my "electricity".  The kid can't express what dancing means to him then suddenly there I no more eloquent kid on earth.      Couldn't (and still can't) suspend disbelief for that one.   (Side note. There seems to be the same conundrum in waving through a window in DEH - tongue tied one moment and perfect word choice in the song.  - no problem with that. They make it work   Didn't in BE)

I think it works in DEH because Evan Hansen is clearly written with some sort of Anxiety Disorder/ADHD. Those of us who are familiar with those conditions are aware that in a persons head they may be the most eloquent person in the world, the problem is it is extremely difficult to get those words one's mouth, as ones thoughts often move faster then they can come out of ones mouth. As one with these disabilities I can personally attest to at a certain point after fumbling through your words for the hundredth time you talk yourself into being that outside window, coming up with similarly although not as poetic reasons as to not speak. In all honesty that is why the letter is not so contrived as plot device as it is a very common therapeutic device as it gives someone with Anxiety Disorder/ADHD time to fully understand their thoughts.

This compared to Electricity which is truly an adults take on a childhood feeling. If Billy Elliot were framed with an older Billy looking back on his life since weirdly enough an Adult Billy appears in Electricity it would make sense. The eloquence of songs written for children's roles is something that many overlook, but it is honestly one of the large problems with Billy Elliot is that Elton John and Lee Hall seem to forget at times that they are writing for children. I remember there being some debate about Matilda lyrics being to above brow for a child, but this can easily be attributed to the fact it is implied that she has read hundreds if not thousands of books between the ages of 2 and 6. Then the fact that her parents who are clearly less educated sing songs with very simple basic lyrics is meant to make her education level more pronounced. You can also see that Jason Robert Brown and Dan Elish worked very hard to make the book and lyrics of 13 actually sound like they would be coming out of the mouth of tweenagers. Same goes for the reigning child centric musical Annie, rarely if ever do the orphans dialogue or lyrics seem unrealistic. 

[ACL2006]

Posted: 1/22/17 at 12:12pm

Basically outside of Solidarity & any number Billy does, the show is dreadful. I always thought the character of Grandma was pointless. Her number only helps the cast get ready for Solidarity. Born to Boogie & Express Yourself are terrible. The finale is nice & touching, but it's certainly one of the weakest Tony winners.

[jimmycurry01]

Posted: 1/22/17 at 12:44pm

I thoroughly enjoyed the show when I saw it in Chicago. I found it to be both funny and poignant. I find myself humming the score quite often.

It is a shame that the show did not do as well in middle America. Even the excellent Chicago production closed a few months early due to weak ticket sales. It was a big deal in local theatre news at the time as Chicago was beginning to grow as a theatre hub again, and it raised questions about the sustainability of that hub.

Here is one of the articles about it.Chicago Production of Billy Elliot to Close Early

[Mister Matt]

Posted: 1/22/17 at 2:12pm

I always thought the character of Grandma was pointless. Her number only helps the cast get ready for Solidarity.

Just before the song, Grandma asks Billy about her husband and his mother and Billy has to remind her that they're dead because her memory tends to get foggy due to her age.  Billy then asks her if she remember his grandfather at all.  In the song, she confesses she remembers him all too well and that he was a rather mean and violent drunk and their relationship was fraught with poverty and fighting, though she occasionally had the upper hand...except...when they would go dancing.  It was when they went out dancing that he would be the gentleman and they could express some semblance of love and tenderness.  They would have the lovely relationship "for an hour or three".  In looking back with some regret, she admits that if she could go back and do it all again, she would just simply be single and enjoy going out dancing, without having to endure the tumult of her married life after returning home.  At the end, Billy tenderly kisses her hand.  The point of the number is, Billy gains insight into the lives of his grandparents, bonds with his grandmother and learns of her strength and pain and how dance was her once source of solace through a long, difficult time.  Grandma is far from pointless.  She is his one living advocate in his household until his relationship with his transforms.  Virtually all of the male chorus participate for most of the number, so they are not getting ready for Solidarity until during the final verse of the song. 

Everything in the show is about the battle of gender roles and how the perception of strength and weakness (or vulnerability) in masculine and feminine roles were changing during a time when their country and their lives are turning upside-down.  The "feminine" characters (Mother, Grandmother, Mrs. Wilkinson and Michael) become the most influential to Billy during this essential point in his life and provide the strength that Billy's father and brother mistakenly believed could only belong to men. 

Born to Boogie & Express Yourself are terrible.

When I first heard them on CD, I didn't care for them, but in the show, I think they work beautifully.