Billy Elliot: Stagecraft Trumps Content

My reaction to the London production of Billy Elliot was one of unmitigated disdain (read my review), but since the show has become such a gargantuan, international hit, I figured I owed it to my readers and my students to give the show a second chance when it came to New York. Well, let's just say that, although I've removed Billy Elliot from my list of The Musicals That Suck, I won't be putting it on my list of The 100 Best Musicals of All Time any time soon. The show remains considerably flawed, but somehow I found myself more receptive to its admitted charms on this side of the pond.

The show's key liability is Elton John's thoroughly unremarkable score. There's not one memorable tune in the bunch, although Peter Darling's lively staging does set quite a few of these forgettable numbers in entertaining relief, particularly "Shine" and "Express Yourself." And although the basic plot of the show is moving, the actual words of Lee Hall's libretto are banal, and the humor sophomoric, consisting of hitting people in the crotch or calling someone a "wanker."

Again, Peter Darling's staging is dynamic, but its meaning is sometimes inscrutable. For example, the "Solidarity" number features the elaborate inter-mingling of cops, strikers, and ballet dancers, which makes for quite a sight, but what exactly is it supposed to mean? I still can't quite figure it out. Another number that left me scratching my head was "Born to Boogie," a song that is every bit as bad as its title, illuminating nothing about the characters or the situation, and featuring staging that helps very little in this regard. 

But paired with the clumsy storytelling and enigmatic staging are moments of simple poignancy, including Billy's letter from his deceased mother. Despite the number's quotidian lyrics ("Always be yourself..." Yeesh.), the honest emotion of the moment makes for compelling drama. Much of what's good about this show can be summed up in one exchange between Billy and his dance teacher, played splendidly by Olivier Award winner Hadyn Gwynne. "She must have been a very special woman," she says, after reading Billy's letter. "No," Billy replies. "She was just me mum."

The end of act I remains a powerful moment in the show, with Billy expressing his frustration and disappointment in the form of an energetic explosion of tap. But the number would have been more effective with a Billy who could handle the gravitas. Kiril Kulish, who played Billy at the performance I saw, is one hell of a dancer, and handles the lighter sections of the show with aplomb, but but when it came to expressing Billy's pre-teen angst, all Kulish could do was yell "Ah!" rather unconvincingly. Kulish was more in his element during the Act 2 pas de deux between the younger Billy and his older self. It's a compelling device, but for some reason the number features Billy flying through the air on a wire like Peter Pan. Um, why? The audience really eats it up, but is there some dramatic reason for it? Maybe the creators are going after something pedestrian like "Billy's soul is taking flight..." [Shudder.] 

But again, overall, I was far more receptive to the New York Billy Elliot than to its London cousin. Perhaps the cast of Broadway pros made the show work better stateside. The lovely Carole Shelley brings great humor and depth to the grandmother character, and Gregory Jbara is quite affecting as Billy's dad. I was excited when I heard that Joel Hatch, who was sensational as the lead character in Adding Machine, would play a supporting role in Billy Elliot, but unfortunately Hatch is wasted here with a cardboard character, that of the boxing coach. 

So, Billy Elliot is affecting and entertaining. But is it good? Not really. Again, the score is undistinguished, the book cliched, and the humor forced. But somehow director Stephen Daldry has crafted a show that transcends its uninspired components to become something slick and entertaining. As I sat in the Imperial watching Billy Elliot, I was continually reminded of Jersey Boys. Because what we have in Billy Elliot is yet another triumph of stagecraft over content.

Comments

[Justin]

So I guess if we have another Jersey Boys on our hands, I guess it will steal the Tony, from another deserving musical. Im Still a little bitter over 2006.