It’s not easy these days to find a major musical that’s rooted in history, is a valid tear-jerker and also makes you want to tap your toes. But that sums up the dynamic “Billy Elliot the Musical” at the Kennedy Center. Originally a movie transformed into a musical, it played in London and on Broadway where it won 10 Tony Awards. And the touring production is every bit as entertaining as the original was.
It takes a while for “Billy Elliot” to gather steam, but only because the character everyone wants to see — Billy, an eleven-year old boy who yearns to dance — is slowly revealed. First, book/lyrics writer Lee Hall and composer Elton John create a socio-political introduction, establishing that Billy’s father and his friends, all coal miners, are going on strike to protest Margaret Thatcher’s decision to break the unions in northern England in the early 1980s.
| Onstage |
| ‘Billy Elliot’ |
| Where: Kennedy Center, 2700 F St. NW |
| When: Through January 15 |
| Info: Tickets start at $25; 202-467-4600; kennedy-center.org |
Yet once the spotlight turns to Billy, a solitary child whose mother is dead and who is estranged from his father, a compelling story unfolds. Having tried boxing, Billy accidentally witnesses a girls’ ballet class and becomes intrigued enough to join in.
The role is so rigorous that five actors play Billy on different nights. On press night, Lex Ishimoto portrayed Billy with tremendous grace and dexterity. Billy is supposed to be both shy and belligerent, usually quiet yet passionate when he dances. Ishimoto captures all those characteristics, making the complex young man perfectly credible. At different points throughout the evening, Ishimoto blends complicated classical ballet steps, gymnastics and hip-hop street moves with equal energy and control.
Leah Hocking is superb as Mrs. Wilkinson, the dance teacher who first encourages Billy, a soft-hearted but hard-as-nails mentor who teaches by example through her dynamite dancing. Rich Hebert is effective as Billy’s uneducated and frustrated father, who doesn’t understand his son’s interest in the arts.
On press night, Ben Cook lit up the role of Billy’s best friend, Michael, who enjoys dressing up in his sister’s clothes. Cynthia Darlow, too, brings a comedic tone to the part of Grandma, contributing her own memories of the importance of dance in “We’d Go Dancing.”
The huge cast of actors, singers and dancers are cleverly choreographed by Kathryn Dunn (original choreography by Peter Darling). The innovative set design by Ian MacNeil uses only about one third of the Opera House’s height and rolling set pieces to create Billy’s home, the gym, Michael’s home.
“Billy Elliot” is not the greatest score every written: it occasionally offers echoes of other musicals. But the production is smoothly directed by Justin Martin (original direction by Stephen Daldry), who ultimately balances a serious social theme with an electrifying display of dance.
