BWW Reviews: Choreography Shines in Fox Theatre Production of BILLY ELLIOT THE MUSICAL

The stage continues to mine the movies for product, and sometimes it strikes gold (High Fidelity-although not hugely successful was, for me a better musical than a movie) and sometimes it strikes tin. The hugely acclaimed and multi-awarded Billy Elliot the Musical falls into the latter category, taking a gloriously fine and moving film and turning it into a bloated, tuneless production that's only saved by the winning performance of its lead (which rotates between four young lads) and some dazzling choreography Unfortunately, it tries too hard to cram into far too many plot elements, clocking in at almost three hours. And, it features a legendary pop tunesmith's worst work to date, leaving its audience with nary a hummable song in its score. It's a real shame because there are absolutely electric moments to be found here and there. But, too often, what worked on the big screen doesn't make the transition to the stage in smooth fashion.

Choreographer Peter Darling has been quoted as saying that Billy Elliot is "very much a musical, not a ballet", but he's doing himself a disservice with those comments, because it's those moments, like "The Angry Dance" when the play truly comes to life and generates sparks. When it relies on the contributions of Elton John (music) and Lee Hall (book and lyrics) it falls far short of expectations. Perhaps, Elton needs someone, like his longtime lyricist Bernie Taupin, to guide him where his melodic sense is concerned, because the score is problematic throughout, and never really takes hold like it should.

However, the cast should be congratulated for their fine work, especially the foursome who essay the title role. On the night I saw the show it was J. P. Viernes who lit up the stage with his considerable talent and charms, but on other nights you'll find either Ty Forhand, Kylend Hetherington or Lex Ishimoto leading the way. Also adding strong performances are: Leah Hocking (Mrs. Wilkinson, the ballet teacher who manages to welcome Billy into an otherwise female ballet class); her pianist (Patrick Wetzel); Billy's senile Grandma (Jillian Rees-Brown, though the role is normally played by Patti Perkins); and Billy's friend Michael (an amusing Jacob Zelonky, who shares the role with Ben Cook).

Stephen Daldrey's direction is fairly solid (the touring company is directed by Justin Martin), but Lee Hall's book could stand some judicious pruning to tighten the pace and focus the story better. Darling's choreography is the real star of the show here, along with the gritty scenic design of Ian MacNeil, some inspired costuming by Nicky Gillibrand, and the eye-catching lighting design of Rick Fisher.

I do think the show needs to be marketed correctly as well. This is really not a show for young children, not with all the coarse language that's been kept in tact. The real message here is not for kids, but for parents who need to believe in their children and encourage them in their dreams and pursuits.

Though flawed in any number of ways, there is much to enjoy here, maybe too much for one show to contain successfully. Billy Elliot the Musical continues through November 13, 2011 at the Fox Theatre.

Photo: Joan Marcus

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