Dates
June 8 thru June 19This evening’s 2010 Broadway adaptation of the feature film Billy Elliot was disappointing. Thank goodness Giuseppe Bausilio (Billy Elliot) could dance like a seasoned principal in The New York City Ballet, because neither his singing nor his acting was memorable for the right reasons. You can almost hear Bausilio’s voice coach whispering to him, telling him exactly how to use his voice, where and when (in one ear and out the other). This kind of frightfully bad performance is even worse when the character he is playing is the focal point of the entire production.
Billy Elliot is the story of a 12-year-old English miner’s son who unintentionally discovers he is a naturally gifted ballet dancer. His father is caught up in a collective mindset that sees male dancers as “poofs,” rendering him unable to accept Billy’s desire to pursue a career in the field or allowing him to attend an audition for the Royal Ballet School.
All around Billy there are examples of friends and family who have secret urges they dare not bring to light due to community perception. Granny didn’t like her husband, Michael is a cross-dresser, Mr. Braithwait wanted to be a dancer, and Debbie, the dance instructor’s daughter, didn’t want to dance at all.
In the background, and poorly threaded throughout the story, is the 1984 National Union of Mineworkers strike testing then-Prime Minister Margaret Thatcher,and the strength of Billy’s community. This socially conscious message, the battle between collectivist union workers and their capitalist employers was depicted by employing battling chorus lines of male dancers, cops on one side and striking minors on the other. These dance scenes seemed unending, very much like the yearlong strike itself.
During the course of Act I there were a few moments of reprieve, including all the musical ensemble pieces with Mrs. Wilkinson’s ballet class, and a fanciful cross-dressing duet between Michael and Billy. Bright-colored, multi-patterned, larger than life dresses glide and turn across the stage, forming chorus lines in an almost Ziegfeld Follies-style production complete with silver rain curtain and countless gaudy lights. Unfortunately, Act I went on for over an hour.
Act II, while saturated with high quality dancing, was even more difficult to sit through than act I was. Particularly, Dad’s solo at the Christmas pageant which was painfully slow, dull, and exhausting to listen to. The duet between Billy and his imagined older self was tightly choreographed with several technically breathtaking dance moments delivered by Bausilio both on the stage and suspended from aerial wires. Regrettably, young Billy was more flexible, a better turner, and more confident in his movement than older Billy. Clearly, someone had been miscast.
With a few good laughs, some terrible English dialect, pitchy singing and brief instances of exceptional dancing, “Billy Elliot the Musical” barely scraped by tonight. There are four casts playing the part of Billy during the Dallas run. To this regard, there is a slight chance a change of cast would make a difference in the overall performance. I am cautiously optimistic.
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11 comments
Wow . . . quite the crank, aren’t we. Guess thousands of critics and fans are wrong. Thanks for enlightening us.
I got to the see the show and thought it was AMAZING! Reviewer must have been having a lousy day. This show actually made me laugh out loud, brought a lump to my throat and made me want to stand an cheer. Billy was a phenomenal dancer and if his singing suffered any, it was only because he was simultaneously cranking out an insanely good dance number at the same time. I was surprised he even managed a breath for a single note, much less an entire song! The acting was on par with Jaime Bell’s original performance, nothing short of brilliant for an actor so young. 10 Tony’s can’t be wrong, can they? I’m actually planning to see it again!
I find this ornery review to be a complete fabrication of what Billy Elliot produces onstage. Yes, the dancing dresses & Mrs. Wilkinson ballet class scenes are enjoyable, but so is the rest of the show. This is one of the most thought-out & comprehensive musicals to hit Broadway, definitely worthy of it’s awarded 10 Tony Awards. I must say, this show makes you laugh, cry, feel hopeful, & dignified. In addition, the “dream scene” in which Billy dances with his older self is a work of pure joy- the older Billy was magical, regal & the connection between the two dancers was unforgettable- definitely not a miscast (& at a least a few thousand other audience members would agree based on the loud audible “ahhh” that was heard.) This was actually one of my favorite parts of the show- & it was a real turning point for Billy! I looked at other online reviews and this particular cast passed through many towns with flying colors… Seems to me like Ms. Reubin let some personal matter get in between her & her work, because I really cannot see any proof or reasoning to this poor description.
This show can not be viewed as the typical sing-song type musical with no depth. It is a strong play with music. Most professional viewers got the many themes and the powerful presentation. Those who missed it, should view the show again. Its probably the best show anyone will ever see.
Saw this production onOpening night ( June 8 ). It must be a different cast because the show I saw was thouroghly enchanting and enjoyable. Amazing choreography, sets, and Billy was the most talented dancer I have ever seen on stage. I would definitely go see this again !
Thanks for your comments. As I said in my review, Billy’s dancing was excellent and most of the choreography was too. Unfortunately, the voice and dialect coaching was lacking, and much of the characters were cliche’. . . Agree to disagree!
Again, I appreciate you taking the time to read ourreviews here at Front Row and posting your comments.
Danna Reubin
@Elizabeth, Please go back and reread my paragraph on the duet.
Danna Reubin said, “The duet between Billy and his imagined older self was tightly choreographed with several technically breathtaking dance moments delivered by Bausilio both on the stage and suspended from aerial wires.”
Elizabeth said, ” the “dream scene” in which Billy dances with his older self is a work of pure joy- the older Billy was magical, regal & the connection between the two dancers was unforgettable- definitely not a miscast (& at a least a few thousand other audience members would agree based on the loud audible “ahhh” that was heard.)”
Sounds like you and I agree.
@ Elizabeth, I urge you to go back and read my review with an open mind…
Danna Reubin said, “The duet between Billy and his imagined older self was tightly choreographed with several technically breathtaking dance moments delivered by Bausilio both on the stage and suspended from aerial wires.”
Elizabeth said, ” the “dream scene” in which Billy dances with his older self is a work of pure joy- the older Billy was magical, regal & the connection between the two dancers was unforgettable- definitely not a miscast (& at a least a few thousand other audience members would agree based on the loud audible “ahhh” that was heard.) ”
Sounds like we agree!
I’m not quite sure I understand your request that people re-read your review with an open mind when it’s clear you had an absolutely miserable experience in live theatre that very few people worldwide have shared regarding this show. I completely respect criticism when it’s fair and balanced, but when you outright trash a show, you better believe we’re gonna call you out for it! Billy Elliot The Musical didn’t win 10 Tony Awards by accident!
Just for clarification purposes, the original Broadway production of Billy Elliot The Musical won 10 Tony Awards. This is a touring production. Different cast, different director, different crew, and so on and so forth. And while touring productions are certainly capable of rivaling their Broadway predecessors, it’s not inconceivable for them to fall short. As commenters have pointed out, live theater is just that. Live. Which means that every time a play is produced, whether little known or beloved, there’s no chance of perfect imitation. That’s the beauty and the risk of it.
I think disappointing is an understatement. While the dancing was fine, the voices were thin, the acting stilted, and the story very disjointed. The performers just didn’t seem to have any emotional connection to the story or each other. I’ve seen every show in the Broadway series since the Winspear opened and it was truly the worst production so far.