Review: Billy Elliot

Worlds Clash in a Coal Miner Ballet

By Lauren Yarger
Just as divergent thoughts, goals and worlds clash in the Sir Elton John-charged musical Billy Elliot, various elements of the production itself sometimes are at odds with each other and cause a pile up of thoughts on the dance floor instead of allowing the viewer to sit back and enjoy the performance.

The show which opened at the Imperial Theater after playing to rave reviews in London and preceded by months of pre-Broadway hype, is a musical interpretation of the 2000 hit movie by the same name (with book and lyrics from Lee Hall, who wrote the screenplay). Overall, it’s entertaining theater with fantastic choreography, great dancing, a bunch of cute kids, some good music and a heartwarming story. A heavy dose of not-so-great language, some music that’s less than inspiring, overused smoke effects and wince-inducing behavior from little kids detract from the good points, however.

Trent Kowalik had the title role the night I was in attendance (the role is rotated among three actors) and was most engaging as the coal miner’s son who finds his passion in ballet. Billy’s penchant for pirouettes doesn’t sit well with his father (a strong performance by Gregory Jbara), however, so Billy lets him think he’s studying boxing instead of taking dance lessons from Mrs. Wilkinson (Hadyn Gwynne). She sees the potential in Billy and wants to help him find his way out of the squalor of the British mining community with an audition for the Royal Ballet. A beautiful dance number has Billy partnered with his future self (Stephen Hanna) where he soars to the heights of his dreams, but the first few rows of the audience are overcome by the thick wall of smoke that rolls off the stage.
Thought collision: This is beautiful. If I could just see it.


Along the way, he gets advice from the spirit of his dead mother (Leah Hocking), helps his crazy grandmother (Carole Shelley) find her missing pasties and tries to avoid the growing tension between his dad and brother (Santino Fontana) during the1984 British National Union of Mineworkers strike. He pals around with his friend Michael, (a talented Frank Dolce who rotates with another actor), who enjoys wearing his sister’s dresses. He urges Billy to join him and they perform a sort of nightclub number “Express Yourself,” which is age inappropriate and which offers large dancing frocks which seem out of place with the feel of the rest of the show. Billy also rebuffs the sexual advances of Mrs. Wilkinson’s little daughter Debbie (Erin Whyland) who offers to show him her private parts (in more graphic language than I just used).
Thought collision: love the kids; don’t like what they’re saying and doing.

Amidst the clash of striking miners and scabs, the community rallies around Billy and his father softens and supports his going to the ballet audition.

John’s score is a mix of signature sounding rock, melodic soul-felt ballads and a rather boring opening number that doesn’t sound like him at all.
Thought collision: don’t like it; like it; where’s some great sounding Aida type stuff?

The best musical number is “Angry Dance,” where John’s beat, Peter Darling’s outstanding choreography, Kowalik’s dancing and director Stephen Daldry’s excellent overlapping of the working and dancing worlds all come together in a terrific end-of-act-one closer where the conflicting elements collide as Billy literally smashes against the wall he’s hit in his life. Darling shows his flexibility with an earlier almost slow-motion number as Billy’s grandmother remembers dancing and drinking with her late husband. He uses movements to make seamless changes between scenes. His genius is showcased in “Solidarity” where the opposing forces come together, interact and switch identities through movement.
No collision here: Darling should start writing a Tony acceptance speech for best choreography.

Ian MacNeil’s set is innovative, with a three-story twisting house frame that rises from below the stage and full-room compartments that are pulled and pushed out of the sides by the actors. Nicky Gillibrand’s costumes tell the characters’ stories and those for Mrs. Wilkinson are particularly outlandish.
Thought collision: while the costumes and dialogue suggest that Mrs. Wilkinson is free spirited and outgoing, Gwynne’s depiction is of a reserved woman never quite able to warm up to Billy and we’re not sure why.


The young children in the ensemble are talented singers and dancers who energize the show. And you can’t help but say, “Awww,” when the small boy, (played at my performance by an adorable Mitchell Michaliszyn), gets hoisted on a burly shoulder à la Tiny Tim.

But the thought collisions had me rolling up and down on the coal ramp saying “I love this” and “I really don’t like this” too many times to tell how I really felt about the whole thing and feeling just a little shafted.

Christians might also like to know:
• Language
• Sexual terms
• Mom is a ghost
• An added personal note: I was distressed by 10 and 11 year olds (and younger) using explicit sexual terms, foul language and cross dressing. My friend Retta reminded me that the language and exposure of the kids to these situations is accurate in the setting of the show, and she’s right. Still, what bothered me most, I think, is the uproarious laugher from the audience. Kids involved with these things at such young ages, even if explained, should be sad, not funny.
• Disclaimer: I admit possible bias in saying that Mitchell Michaliszyn is adorable. His family are long time close, personal friends, but I’m certain I would have written that even if his aunt weren’t one of my most favorite people on the planet.