I have to confess, that this is a slightly biased review. Billy Elliot is one of two Elton John musicals in my Top Ten musical theatre shows (the other being the yet to be produced in the UK Aida). I was a great admirer of the original London production which I saw many times, and have often thought anyone attempting to revive it would face an uphill climb in both logistics of getting a young cast together and rivaling the London production which ran for 11 years.
But here we are in 2022, and Leicester's ambitious Curve Theatre have taken up the challenge of telling Billy's story. If there is anyone who has not seen the original movie back in 2000, the story is set in the North East pit village of Easington during the bitter miners strike of 1984/85. The pit communities were brought to their knees by the strike amid clashes with police as the National Union of Mineworkers stood against Margaret Thatcher's government to try and stop Pits being closed. Amid this slice of social history stands Billy Elliot. An 11 year old son of a miner who develops a talent for dance which is recognised by the local dancing teacher Mrs. Wilkinson. And so the story unfolds of Billy trying to escape his social position and the bigotry of his family to pursue his gift.
Set designer Michael Taylor makes full use of the Curve's wide and deep stage, filling it with scaffolding, wire fencing and a central tower which serves as Billy's home. Lit by Ben Cracknell with a stunning lighting array, the atmosphere of the inflammable situation is right there before us. The score by Elton John and Lee Hall as I have indicated, is just brilliant. From the choral miners defiance of 'The Stars Look Down' through the urgency of 'Solidarity' to the tenderness of 'Billy's Letter', it is timeless music.
On the night I saw the show Samuel Newby (one of four Billy's in rotation) played the titular role. It was a confident and flawless performance capturing both Billy's raw talent and his frustration at being caught up in the titanic struggle of the miners. Samuel's 'Electricity' is one of the evenings many highlights. Matched with Lucas Haywood as Billy's cross dressing friend Michael and Lola Johnstone as Debbie 'would you like to see me fanny?' Wilkinson, it was a trio of young leads that would have been welcome on any stage in the country.
The pivotal adult roles of world weary dance teacher Mrs. Wilkinson and Billy's robust widow father Jackie were equally outstanding. Sally Ann Triplett finds both the hard edge and soft centre of Mrs. Wilkinson perfectly, her voice and characterisation conjuring up Mrs. W's world in an instant. Joe Caffrey's gruff Dad torn between his commitments to the strike and his sons potential future is heart breaking. Both actors deliver in spades. So too Rachel Izen as the increasingly dotty Grandma, her song as Grandma reflects on her life as a miners wife is a tour-de-force. Luke Baker as Tony, Billy's older brother, is yet one more fine study of a young life overshadowed by the momentus events unfolding.
Both visually, aurally (a stunning 7 piece band are perfection) and dramatically this production hits the nail on the head. Choreographer Lucy Hind teases the best out of the young leads whilst staging some terrific set pieces within the show. Director Nikolai Foster has managed to blend the many elements needed to make this complex show work brilliantly. As sparks reign down, glitter falls from the ceiling and the bank of lights worthy of a Queen concert are all brought into play, the evening provides thrill after thrill. Hopefully we haven't seen the last of this production. Even after all these years, Billy Elliot can still shine.
Rob Cope
