Review: BILLY ELLIOT Dances Into Audience Hearts at the Fulton

In 2000, a simple, warm-hearted movie was made of the 1984 Northern England miners' strike. But to give a true face to Stephen Daldry's tale of class struggle, the focus turned not to the miners themselves, but to a miner's young son, Billy. Billy Elliot wasn't a big film, but it was a loved one. A friend of this writer who struggled with cancer made it his film, watching the DVD faithfully on a regular basis. And when she was in London one day and called him in the States, saying "You know, Elton John's made your movie into a musical and it's on stage at the theatre right across from where I'm standing," she was ordered by him to see it and to come back and report. Few commissions were ever more pleasantly undertaken. Not having been a huge fan of the movie (at least not after seeing it several dozen times at her friend's), she didn't expect much, but was happily disappointed in her expectations. It was wonderful.

Some years later, it's still wonderful, and it's a delight to see it on stage at the Fulton Theatre. Few shows are more rewarding, which feels as if it's a strange thing to say about a show brimming with children - but Billy Elliot is not a children's show. It's a story about one boy's journey, amid a backdrop of class antagonism, machismo, and family dysfunction, to fulfilling his aims against his family's wishes. A miner's son wasn't supposed to be some sort of poncy dancer, but to be tough like his old man, and to want what his family had, solid union jobs providing one of Britain's great necessities. But the Thatcher years were the years everything changed, and the unions lost, destroying family dreams.

Jamie Martin Mann is a puckish Billy, the boy who won't box, but who, after sneaking around in the union hall, discovers Mrs. Wilkinson's (Janet Dickinson's) dance class. Mann is a fine younger actor, who can also dance as well as sing; watching him depict Billy's growth as a dancer, and as a person, is an emotional journey for the audience. Dickinson, playing the grouchy mother figure in his life, feels like every scary dance teacher of your childhood, the ones you've tried and failed to block out of your memories. Having had one herself, this writer knows. Dickinson's Mrs. Wilkinson was immediately spotted as the source of her childhood trauma in tap class; however, Dickinson makes that terror fun to watch.

Dad is played by Timothy Gulan, who can be felt to be carrying the weight of his world on his shoulders. That he wants his Billy to be a rough and tumble boy with no expectations is palpable. Gulan and Patti Mariano as Grandma are a delightful comedy team, especially early in the first act at breakfast, fighting the war of the sausage roll. With Mariano as Grandma, there's, as in real life, not nearly enough Grandma to suit anyone. Young Johnny Marx plays Billy's best friend Michael, who's a particular joy to behold in his number, "Expressing Yourself." Although the story line of Billy and Michael's friendship and how it will play out is a bit transparent from the first, it's charming and touching.

The ghost, or memory, of Billy's mother is Katie Sina, who's a marvel throughout. She and Mann are able to make her imaginary relationship with Billy grow as Billy does, until he realizes he's able to let her go.

Adam Pelty, who's an old hand at Billy Elliot, as is much of the cast, not only directs but choreographs, and the choreography is evocative indeed. From the careful but awkward footing of newly emerging ballet students to the kicking of police and miners fighting, to the flying dance of Billy;s imagination with his own older self (Braeden Barnes), the arrangement is sure. Particularly, the flying dance is a thing of beauty, even when sitting close enough to see the flying rig that you very well know is there. The choreographic arrangement and the dancers' efforts are no less rewarding for knowing that it's "not real." It may be the dance high point of the show, even more than Billy's post-audition expression of his feelings in "Electricity." The show is worth it for those scenes alone.

Also worthy of note, "Grandma's Song," a nice Celtic piece, and Mrs. Wilkinson's "Shine," which feels as if it would be interesting to work into CHICAGO for the fun of it. And pay special attention to "We Were Born to Boogie," a piece that Andrew Lloyd Webber could only wish he'd fit into SCHOOL OF ROCK.

This production is a finely-handled show that demonstrates clearly its creatives' and talent's familiarity with it. It's worn lightly and gently by them, like a favorite and well-loved cloak that catches the attention of people who see it, and that no one can stop looking at. As with the original West End production, it's even more fun than the film. Can Billy make it from mining town to the Royal Ballet School? One look at your star here, and you'll have no doubt at all. On stage until October 16, with VERONICA'S ROOM opening as well at that time. Visit thefulton.org for information on both.

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