Reviewed by Judy Richter
If you love dance, there's plenty
to enjoy in "Billy Elliot," the Tony-winning musical that has landed in San
Francisco for the next few months. Based on the popular 2000 movie of the same
name, it's set in a hardscrabble Northern England mining town beset by a
year-long, devastating strike protesting Prime Minister Margaret Thatcher's
efforts to privatize the coal mines and bust the unions.
Stephen
Daldry, who
directed the movie, also directs the musical, which features music by Elton
John and a book
and lyrics by Lee Hall. It's the compelling story of an 11-year-old boy whose mother is
dead and whose father is emotionally detached. At his father's behest, he
reluctantly takes boxing lessons, but he accidentally discovers the dance class
that follows in the same recreation center. He's reluctant about that, too, but
the tough-tender teacher, Mrs. Wilkinson (Faith Prince), sees his potential and
encourages him. When his father, Dad (Rich Hebert), and older brother, Tony (Jeff
Kready), find
out about his balletic ambitions, they're opposed, fearing he'll become gay.
Nevertheless, his talent offers him a far brighter future than he could have in
his hometown, so eventually the community rallies around him and sadly watches
him leave.
The
terrific choreography, which features a variety of styles from classical ballet
to tap, is by Peter Darling. It 's brilliantly executed by the large ensemble cast
and by the opening night Billy (J.P. Viernes), one of five boys alternating
in the demanding role. Fifteen-year-old J.P. is a local product, hailing from
Half Moon Bay just south of San Francisco. He's also a good actor and singer.
Prince
is seemingly unflappable as Mrs. Wilkinson, who doesn't take any guff from
anyone but who allows her caring for Billy to come through. Hebert also does
well as Dad. Also noteworthy in the cast are young Griffin Birney (alternating with another boy) as
Michael, Billy's best friend, who has a penchant for dressing in his sister's
clothes. Patti Perkins plays Billy's slightly dotty Grandma, whose short-term memory is
declining.
John's
music, which works well, has passing hints to other hit musicals such as "Gypsy," "Les Miserables" and "Evita." Ian MacNeil's set design is fluid, affording
easy transitions between locations. The lighting is by Rick Fisher with costumes by Nicky
Gillibrand and
sound by Paul Arditti.
The
show was well-received on opening night and deservedly so with all its
attributes, especially the dancing.