Billy Elliot the Musical
Merry Christmas Maggie Thatcher
By: Charles Giuliano - Dec 23, 2010
When Billy Elliot the Musical, with music by Sir Elton John and book & lyrics by Lee Hall, earned eight Tony Awards in 2009, including Best Musical, tickets were costly and hard to come by.
Taking advantage of discounts, even during the busy Holiday season, we managed a not so great orchestra seat, with fees, for about $70. The seating at Broadway’s Imperial Theatre was so cramped that during intermission I moved to the empty last row, on the aisle, so I could stretch out my legs. In general, theatres were built during an era when audience members tended to be more compact.
There was also an overhanging balcony which obscured the view of the upper area of the stage. Other than these physical concerns, even from the back of the house, this was a gosh darn, terrific, evening of musical theatre.
Having seen and enjoyed the 2000 film which inspired the musical I had reservations. How would the charming but modest film, about the son of a striking coal miner who aspires to a life in ballet, make the transition to stage?
On every level the musical felt richer, more complex, with a stronger development of the characters. There was a greater sense of the struggles of the striking miners and their epic battle with the brutal and heartless Prime Minister, Margaret Thatcher.
The story of Billy Elliot is framed by events during the 1984-85 coal miners' strike in County Durham. Previously, the mining industry had been nationalized but Thatcher was determined to break the union.
Ultimately, she prevailed as the miners, having subsisted on meager strike pay with no government benefits, were forced to accept her terms. Subsequently, the industry has all but disappeared in Great Britain.
Ironically, this liberated Billy Elliot and became a symbol of hope for the community which rallied behind him. While mining as a way of life disappeared Billy would leave and find a new life in dance.
The musical focuses on the improbable tale of a coal miner’s son’s ambition to pursue a career in dance.
The first act reveals Billy at home with his tough, brawling, working class family. There are fist fights between his hard drinking brother, Tony, and dad, Jackie. Now and then the ghost of Billy’s Mom appears to interact and guide him. The other woman in his life is a dottering grandmum who always manages to burn the beacon. She enjoys a nice moment with ‘Grandma’s Song.”
With a few precious coins Billy’s dad is paying for boxing lessons. It turns out that Mrs. Wilkinson’s ballet class is held in the same space. Inadvertently Billy joins in. But when he returns the next day she demands to be paid.
All hell breaks loose when Billy’s dad learns that he is using the manly boxing money for the embarrassingly effeminate dance classes. In the blow up that ensues that seems to be the end of it.
There is the sub theme of Billy’s sexual orientation. His best friend Michael is discovering the joy of wearing dresses. Billy goes along with it and even accepts a kiss from Michael but declares that just because he likes to dance doesn’t mean he’s a “poof.”
Convinced that Billy has unique talent Mrs. Wilkinson takes him on as a special project. They rehearse an audition routine for the Royal Ballet. After a year long absence from class his Dad stumbles on Billy in a spontaneous moment of reverie.
There is a poignant scene where Jackie seeks out Mrs. Wilkinson proclaiming that he wants what’s best for his son. That means an expensive trip to audition in London and then tuition for training.
This entails Mr. Elliot working in the mine as a scab. His son Tony assaults him joined by the angry strikers. But when they learn the reason why he has returned to the mine there is a catharsis. One by one the strikers make contributions. It is still not enough. Until a scab comes forward and offers hundreds of pounds. Tony angrily rejects the offer. Eventually it is accepted and funds the audition.
There are so many wonderful moments in this thrilling musical. It is unique for having such a strong and insightful book about real people and their struggles. Caught up by the powerful music and dance, by the end of the evening, I felt both exhilarated and emotionally drained.
The beginning of the second act conveyed a surge of power and energy in the satirical “Merry Christmas Maggie Thatcher.” It was accented by a giant, puppet effigy of the monstrously overblown political leader. What a truly vile woman.
We were stunned by the folk like simplicity of Jackie’s “Down in the Mine.” During the audition sequence there was a remarkable fantasy duet between Billy and his older self set to the melody of “Swan Lake.” At times Billy is swept swirling into the air. It is so simple and effective.
This was an evening and production that we wanted never to end. So the wonderful, hilarious finale was truly gratifying. It was hysterical and heart warming to see all those tough miners in tutus. What a hoot.
Thanks to Billy Elliot for a memorable Broadway Holiday treat. And up yours Maggie Thatcher. Let’s just hope that there’s coal in your stocking. In every sense.