Is this guy an all time "champ" or what? Nothing less than a true "spartan." Of the very many "Billythons" I've attended, I never recall a youngster assuming the role of "Billy" twice in one day, as was the case by Kyle Halford yesterday. It was simply by a quirk of circumstances he had to take a quick "twosome" as Nicholas Dantes was not injured, but rather had an obligation he needed to fulfill. There may well have been other occasions elsewhere which required one kid to bat twice in a row in the same day, but I just can't remember...which really doesn't matter given the extraordinary work of Kyle.
His lean, rangy, angular body must have received a test of a lifetime about which, of course, he never complained, and bless his heart, as his performances thorough enchanted audiences of mostly middle and elder citizens. I was truly pleased as I was leading the theater as to the excitement, the comments, and the appreciation about Kyle and the show heard in the chatter amongst those around me. Even prior to the start of the show, and in conversation with folks sitting near me, most of those citizens had no clue about the musical, being basically regulars who see many shows at Drury Lane throughout the year, come hell or high water.
Kyle on this day certainly complemented what I consider to be a superb cast. It is a cast of regulars to whom most of us can relate, as they deliver their specific role so naturally, so realistically [an observation I made in a recent review], but, you cannot help but feel an immediate kinship with each one. That includes the miners and the policemen who I feel are more pronounced, more observant in this production. Another case in point is the ensemble of youngsters who, possess such captivating personalities, you want to sweep them off their feet. Perfect example is "Merry Christmas Maggie Thatcher." Even seeing this production a few times, it still is difficult to grasp all that is going on prior to "Deep into the Ground," as the scene is so thoroughly choreographed, emphasizing a flock of kids and their dancing talents and showmanship, the whole scene simply explodes on the audience. It is truly wonderful.
But, as usual, Kyle stole the day. He comes on seemingly a bit confused by all that is transpiring around him as a displays a rather humble, if not detached interest, bouncing from one scene to another even as he seems unaffected by the butt of the antics of the girls ensemble or, so it seems, as one is never quite capable of assessing his deeper feelings. But focusing on his angular persona, one slowly watches this youngster exude a transient beauty in the discovery of perfection, even as it becomes alive in his facial expressions of glee and satisfaction. Kyle skillfully pulled the trigger on his transformation which obviously carried this audience to a standing degree of appreciation.
"Expressing Yourself" would knock any sincere BETM appreciator off their feet. Notwithstanding, the drag appearance and dance number with six of the mucho members of cast which sells the whole scene in itself, Michael Harp and Kyle were particularly loose this day, thoroughly humorous and engaging with each other to the extent the audience appeared ready to join them on stage. The powers to be who envisioned this scene to the extent of the choreography they did, must have had their imaginative wheels churning to the highest degree. Speaking of Michael! His whole stage persona is a powerful force in every performance of this Drury Lane production, and by complementing both Kyle and Nicholas so well in their relationship, is it any wonder he is received so well by the audience. Never have known a "Michael" like him.
It's difficult not being redundant when seeing and reviewing Lane's production with pretty much the same cast week after week. Not that it bothers me in the least, since I could not be more thrilled with the pace, the energy, the lighting effects, sound presentation, and the entire cast characteristics which make up this musical. The whole experience is magnificent. In that regard, I have to mention the Dream Dance, which again, is superior to anything I've witnessed Kyle, in combination with Rhett Guter, put on the most gorgeous and truly captivating aerially choreographed display which literally brought tears to my eyes. Notwithstanding the music, the lighting effects and the proximity to the audience that the flying takes place, makes the whole dance wonderfully surreal. Furthermore, it seemed to go on for ever which made the impact even more memorable.
Well, what can I say, other than looking forward to the next few weeks and more performances of pure magical delight that this show presents to its audience. Believe it or not, the next show will seem like the first time for me. So wonderful in its energy and freshness, it's like learning a routine all over again after lasting weeks and months of absence. Am as excited as never before.
Colin
Drury Lane Reviews
Re: Drury Lane Reviews
That is a great review, Colin. It takes me back to my visit there last weekend.
You hit upon one thing I had not observed: there are very few children, or teens, in the audience (and I was there for two Saturday performances). The audience is definitely older than most I have seen, which is fine, but it means that its reactions are less exuberant. Still, when I was there the standing ovations were numerous, and everyone seemed to thoroughly enjoy themselves.
Doing two shows back to back is a fantastic feat, no doubt about it; and it has been done before. In one case, a regional Billy performed five times in a row, over three days; two days with two performances. He did this, having performed the role only twice before commencing this marathon; and he did not even break into a sweat! The same Billy performed eight shows in a row, four of them back-to-back over two days, in one week, eight months later. I am referring to Sam Faulkner.
I wonder: has a London Billy ever performed two whole performances on one day?
You hit upon one thing I had not observed: there are very few children, or teens, in the audience (and I was there for two Saturday performances). The audience is definitely older than most I have seen, which is fine, but it means that its reactions are less exuberant. Still, when I was there the standing ovations were numerous, and everyone seemed to thoroughly enjoy themselves.
Doing two shows back to back is a fantastic feat, no doubt about it; and it has been done before. In one case, a regional Billy performed five times in a row, over three days; two days with two performances. He did this, having performed the role only twice before commencing this marathon; and he did not even break into a sweat! The same Billy performed eight shows in a row, four of them back-to-back over two days, in one week, eight months later. I am referring to Sam Faulkner.
I wonder: has a London Billy ever performed two whole performances on one day?
Re: Drury Lane Reviews
Yes! I once saw Trent Kowalik perform both Thursday shows! And I'm sure there have been one or two others as well!
Re: Drury Lane Reviews
Well, I have to admit, that yesterday I experienced a couple of firsts in my long history of seeing BETM. It was the first time I viewed two shows within an hour of each other, something I can never remember happening during so many weekends of Billythons. It may have happened somewhere, but not in my immediate memory. And, unless you're somewhat familiar with Drury Lane Theater and Conference Center, you have to know that there are restaurants feeding directly into the theater lobby, notwithstanding, a large grand ballroom. No sooner had I arrived on scene for the matinee that I was amongst a couple-three hundred students in their caps and gowns with all of their parents for a high school graduation in the ballroom. Then, of course, I was delighted in knowing that the matinee was a full sell-out, something which had not occurred in my previous forays to DL. At the conclusion of the matinee, we exited the theater only to be amongst a large wedding party who were next in line for the GB. In short, it was a joyous mob scene throughout the afternoon, that is, if you could find a parking place and escape long enough to catch a breath of fresh air outside.
But, one of the "firsts" which most blind sided me, was a conversation I had with an African American mother whose very petite darling daughter was a member of the ballet girls. [All parents and actors gladly present themselves in the lobby after the shows]. We were having an excited conversation about the matinee, when suddenly we were accosted by a middle aged gentleman who, upon overhearing our conversation, found it necessary to vociferously bud in chastising that very elegant mother and me for our opinions. He was so loud and insulting, it attracted the attention of a number of people around us. He said he had to leave the performance at intermission, leaving his wife to view the second act, because he was incensed regarding the foul language, ["absolutely unnecessary"] the constant homosexual bylines...this was the worst show he had ever seen...why was it necessary to constantly flaunt the gay "lifestyle," particularly amongst young children...embarrassingly, he went on and on, despite my reasonable attempts to explain to him the genuine themes of the show. He didn't care to listen, rather finding fault with the entire production. I finally put my foot down and politely told him was being rude, was aggressively insulting to the lady, and interfering in our conversation. I lead the lady away to relieve both of us of this very disrespectful gentleman.
Did I say, I also saw both shows in all their glory, and with the exception of the Billy's and the ballet girls, the cast performed 'the double' with as much energy and enthusiasm one has come to expect from this superb cast. Nicholas Dantes performed the matinee and literally turned the house up side down. I do not have words adequate enough to describe this kid's presentation. His emotional range and facial expression will speak directly to you leaving no doubt as to the depth of his sincerity. Well, come to think of it, I guess I can find the words...Nicholas is beyond amazing. Kyle Halford had the better than three/fourths full evening crowd captivated by his transition from quiet stillness to his bombshell of an "Angry Dance" and "Electricity." Both of their Dream Dances had the audience applauding most every one of their in air balletic moves. One thing I particularly enjoy about the scene is there is less chair-spinning, allowing time for more balletic dancing. One can concentrate more on their movements rather than wondering when Nic, Kyle, or Rhett Guter, is going to drop the chair or trip over them during the routine. Being 10 feet from the stage [as noted in previous reviews] this whole scene is nothing less than magical and like nothing I've seen before. Being up close makes a world of difference.
Michael Harp was his usual sassy but absolutely superb "Michael." I am not sure his depiction is overplayed, [as noted before], as everything he does on stage seems so joyously natural. Certainly, "Expressing Yourself" sends the audience on an exhilarating ride as what they visualize is something I think they would never have expected. Furthermore, if Nic and Kyle seem somewhat non-plused and confused up to that point in the first act, Michael Harp brings out their characters to a full awakening and bravura.
Couple of observances I made this time, perhaps, to a fuller appreciation! In "Solidarity," there is constant choreography going on between the ballet girls, the miners, and the cops [something before which I was not as conscious] which seems never ending and only interrupted by Billy's gorgeous poses. Some of that choreography is executed in slow motion. The same can be said of "Angry Dance." Some of the fighting between the miners and policemen also is executed in slow motion, thus giving you a more prominent visual observance of Billy's agony and dancing. I think that is as it should be.
And I still like Grandma's version of "We'd Go Dancing." She actually pays more attention to the dancing couple [her youthful self and husband], which gives the whole scene a strong element of imagery choreography. She's always conscious of Billy, but focuses her attention on her own imagery.
Well, I have six more performances to see in the few that remain in the next two weeks. I will weep real tears when this show leaves town, for, as like Michael, I will feel as though I'm losing a close friend. Thank heavens for the number of shows I've seen since my heart attack, as this production is light years above what I ever expected, and to have missed it, would have been more than a damn shame.
Respectfully Submitted,
Colin
But, one of the "firsts" which most blind sided me, was a conversation I had with an African American mother whose very petite darling daughter was a member of the ballet girls. [All parents and actors gladly present themselves in the lobby after the shows]. We were having an excited conversation about the matinee, when suddenly we were accosted by a middle aged gentleman who, upon overhearing our conversation, found it necessary to vociferously bud in chastising that very elegant mother and me for our opinions. He was so loud and insulting, it attracted the attention of a number of people around us. He said he had to leave the performance at intermission, leaving his wife to view the second act, because he was incensed regarding the foul language, ["absolutely unnecessary"] the constant homosexual bylines...this was the worst show he had ever seen...why was it necessary to constantly flaunt the gay "lifestyle," particularly amongst young children...embarrassingly, he went on and on, despite my reasonable attempts to explain to him the genuine themes of the show. He didn't care to listen, rather finding fault with the entire production. I finally put my foot down and politely told him was being rude, was aggressively insulting to the lady, and interfering in our conversation. I lead the lady away to relieve both of us of this very disrespectful gentleman.
Did I say, I also saw both shows in all their glory, and with the exception of the Billy's and the ballet girls, the cast performed 'the double' with as much energy and enthusiasm one has come to expect from this superb cast. Nicholas Dantes performed the matinee and literally turned the house up side down. I do not have words adequate enough to describe this kid's presentation. His emotional range and facial expression will speak directly to you leaving no doubt as to the depth of his sincerity. Well, come to think of it, I guess I can find the words...Nicholas is beyond amazing. Kyle Halford had the better than three/fourths full evening crowd captivated by his transition from quiet stillness to his bombshell of an "Angry Dance" and "Electricity." Both of their Dream Dances had the audience applauding most every one of their in air balletic moves. One thing I particularly enjoy about the scene is there is less chair-spinning, allowing time for more balletic dancing. One can concentrate more on their movements rather than wondering when Nic, Kyle, or Rhett Guter, is going to drop the chair or trip over them during the routine. Being 10 feet from the stage [as noted in previous reviews] this whole scene is nothing less than magical and like nothing I've seen before. Being up close makes a world of difference.
Michael Harp was his usual sassy but absolutely superb "Michael." I am not sure his depiction is overplayed, [as noted before], as everything he does on stage seems so joyously natural. Certainly, "Expressing Yourself" sends the audience on an exhilarating ride as what they visualize is something I think they would never have expected. Furthermore, if Nic and Kyle seem somewhat non-plused and confused up to that point in the first act, Michael Harp brings out their characters to a full awakening and bravura.
Couple of observances I made this time, perhaps, to a fuller appreciation! In "Solidarity," there is constant choreography going on between the ballet girls, the miners, and the cops [something before which I was not as conscious] which seems never ending and only interrupted by Billy's gorgeous poses. Some of that choreography is executed in slow motion. The same can be said of "Angry Dance." Some of the fighting between the miners and policemen also is executed in slow motion, thus giving you a more prominent visual observance of Billy's agony and dancing. I think that is as it should be.
And I still like Grandma's version of "We'd Go Dancing." She actually pays more attention to the dancing couple [her youthful self and husband], which gives the whole scene a strong element of imagery choreography. She's always conscious of Billy, but focuses her attention on her own imagery.
Well, I have six more performances to see in the few that remain in the next two weeks. I will weep real tears when this show leaves town, for, as like Michael, I will feel as though I'm losing a close friend. Thank heavens for the number of shows I've seen since my heart attack, as this production is light years above what I ever expected, and to have missed it, would have been more than a damn shame.
Respectfully Submitted,
Colin
Re: Drury Lane Reviews
I should ever be so lucky in the future to witness a performer as captivating a "Billy" as that delivered by Nicholas Dante at Drury Lane's matinee yesterday afternoon.
From the moment he stepped on the stage, to the conclusion of his "Electricity, " Nic provided us such a spectacular range emotion it defies description for a youngster his age, especially given his ability to transition so naturally from scene to scene. His performance was so riviting, even as a long time observer of this show, I found myself totally captivated and drawn into his character interpretation unlike anything I can ever remember before from a singular performance of "Billy." He was simply magnificent! There was not a huge crowd for this matinee performance, but I could sense upon leaving the joy and elation of this mainly middle aged and elder crowd which easily matched my own enthusiasm for what they had just witness from this kid and from the show.
Of course, this superb cast continues to bring the house down; along with the producers and those others who have given us such refreshing cherography, artful staging as simplistic as it is, and with imaginative lighting, all which provides a glorious and unforgettable portrait of Billy Elliot the Musical.
Unfortunately, our friends will only be here for another eight days and it will be a sad day in hell to see them go. Such a shame this whole outfit couldn't go on tour in delivering their wonderful redition to all who have loved this story so deeply.
Looking forward to more performances this week. A truly lasting memory!
Colin
From the moment he stepped on the stage, to the conclusion of his "Electricity, " Nic provided us such a spectacular range emotion it defies description for a youngster his age, especially given his ability to transition so naturally from scene to scene. His performance was so riviting, even as a long time observer of this show, I found myself totally captivated and drawn into his character interpretation unlike anything I can ever remember before from a singular performance of "Billy." He was simply magnificent! There was not a huge crowd for this matinee performance, but I could sense upon leaving the joy and elation of this mainly middle aged and elder crowd which easily matched my own enthusiasm for what they had just witness from this kid and from the show.
Of course, this superb cast continues to bring the house down; along with the producers and those others who have given us such refreshing cherography, artful staging as simplistic as it is, and with imaginative lighting, all which provides a glorious and unforgettable portrait of Billy Elliot the Musical.
Unfortunately, our friends will only be here for another eight days and it will be a sad day in hell to see them go. Such a shame this whole outfit couldn't go on tour in delivering their wonderful redition to all who have loved this story so deeply.
Looking forward to more performances this week. A truly lasting memory!
Colin
Re: Drury Lane Reviews
Friday, May 29, 2015
Days don't get much better than yesterday: enjoying a baseball game at Wrigley Field on a 75 degree afternoon (featuring my local Kansas City Royals who were the visiting team) and then seeing Billy Elliot in the evening. Both turned out to be winners, as the Royals won 8-4 and the show was very enjoyable.
Nicholas Dantes was Billy, and did a good job of capturing the frustrations and difficulties that Billy goes through. He has a very strong singing voice and a very unique "Electricity" which appears to be less ballet or street, and more modern dance. While his interpretation of the part is less smiley and confident than others, he did clearly enjoy himself in "Express Yourself," "Born to Boogie," and the Finale. He came close to working up some real tears in several scenes, and pushed some emotional buttons in the way he came across as very vulnerable.
I thought the production did a good job of making alterations where necessary, given the size of the stage and limitations of the scenery. I liked the inclusion of the corrugated metal wall that served several purposes, which seemed to be a nod towards the same sort of fence in the movie where Billy bangs against at the end of his Angry Dance. This production may have my favorite version of "Grandma's Song" as I liked how they had both a female and a male dancer to portray Grandma and her husband, and really helped bring the lyrics to life. I found this more effective than the ensemble of dancers which is normally used during this number. You got the feeling that Nicholas - as Billy - was hearing this story for the first time, and felt some sadness at finding out this particular part of his family history and all that his grandma had to put up with. Fine acting by Nicholas.
I appreciated this production trying different stagings of several musical numbers rather than just trying to copy all the previous productions. However, I didn't think "Solidarity" packed as much of a punch as it usually does when Billy is at center stage and doing his series of pirouettes as the choir-like chorus of "forever . . . and ever . . ." is sung. It seemed like Billy's pirouettes were downplayed, and he was more at the front of the stage rather than being center stage as the obvious focus of attention. The audience reaction wasn't as strong as it normally is for this scene. However, earlier when Billy does his first pirouette across the stage to Mrs. Wilkinson, the audience broke into applause as he comes to a stop in front of her, which I've never heard before.
I also wasn't as wild about the "He Could Go and He Could Shine" scene focusing on Jackie Elliot when the ensemble sings "don't worry lad, we'll never let you fall" as they're helping him up after his fight with Tony. Seems like it ties in better when the miners sing that line to Billy, since it references the opening number where Billy sings "take me up." Billy then comes on stage shortly after that carrying a jar of money, which you kind of wonder why he has since the miners had been putting money into Jackie's helmet.
The audience at the Drury Lane Theater seemed to give the show an enthusiastic round of applause at the end, but I couldn't help but wonder if they didn't quite know what to make of certain parts of it. As has been mentioned in other reviews, a large percent of the audience at this venue appears to be 65 and older. At the end of a very well-done "Angry Dance" when Billy screams and drops to the stage, there was a very short and muted bit of applause, which ended before Nicholas had climbed back up to his feet. He stood there dusting himself off and staring at the audience, which was sitting there in awkward silence. As he walked off the stage, there was another short bit of applause as if the audience was realizing that the number - and Act 1 - were finished.
I liked the idea of Billy, Michael, and the tall boy actually collecting money from the audience as the 2nd act is about to begin. Pretty clever way of collecting money for the theater scholarship, while allowing the boys to interact with the audience partly in character and partly as themselves. When Nicholas reached in to hold his bucket out to the woman sitting next to me, she dropped the money in while also taking a picture of him with her cell phone. He paused and gave her a smile when she was taking the picture. I was surprised none of the ushers stepped in to give her a disapproving reminder to put her camera away.
So all in all, a very enjoyable and impressive production. With most of the actors being first-time performers in this show, it provided encouragement that productions of high quality such as this can continue to be done without having to rely on former cast from Broadway, the tour, etc.
Days don't get much better than yesterday: enjoying a baseball game at Wrigley Field on a 75 degree afternoon (featuring my local Kansas City Royals who were the visiting team) and then seeing Billy Elliot in the evening. Both turned out to be winners, as the Royals won 8-4 and the show was very enjoyable.
Nicholas Dantes was Billy, and did a good job of capturing the frustrations and difficulties that Billy goes through. He has a very strong singing voice and a very unique "Electricity" which appears to be less ballet or street, and more modern dance. While his interpretation of the part is less smiley and confident than others, he did clearly enjoy himself in "Express Yourself," "Born to Boogie," and the Finale. He came close to working up some real tears in several scenes, and pushed some emotional buttons in the way he came across as very vulnerable.
I thought the production did a good job of making alterations where necessary, given the size of the stage and limitations of the scenery. I liked the inclusion of the corrugated metal wall that served several purposes, which seemed to be a nod towards the same sort of fence in the movie where Billy bangs against at the end of his Angry Dance. This production may have my favorite version of "Grandma's Song" as I liked how they had both a female and a male dancer to portray Grandma and her husband, and really helped bring the lyrics to life. I found this more effective than the ensemble of dancers which is normally used during this number. You got the feeling that Nicholas - as Billy - was hearing this story for the first time, and felt some sadness at finding out this particular part of his family history and all that his grandma had to put up with. Fine acting by Nicholas.
I appreciated this production trying different stagings of several musical numbers rather than just trying to copy all the previous productions. However, I didn't think "Solidarity" packed as much of a punch as it usually does when Billy is at center stage and doing his series of pirouettes as the choir-like chorus of "forever . . . and ever . . ." is sung. It seemed like Billy's pirouettes were downplayed, and he was more at the front of the stage rather than being center stage as the obvious focus of attention. The audience reaction wasn't as strong as it normally is for this scene. However, earlier when Billy does his first pirouette across the stage to Mrs. Wilkinson, the audience broke into applause as he comes to a stop in front of her, which I've never heard before.
I also wasn't as wild about the "He Could Go and He Could Shine" scene focusing on Jackie Elliot when the ensemble sings "don't worry lad, we'll never let you fall" as they're helping him up after his fight with Tony. Seems like it ties in better when the miners sing that line to Billy, since it references the opening number where Billy sings "take me up." Billy then comes on stage shortly after that carrying a jar of money, which you kind of wonder why he has since the miners had been putting money into Jackie's helmet.
The audience at the Drury Lane Theater seemed to give the show an enthusiastic round of applause at the end, but I couldn't help but wonder if they didn't quite know what to make of certain parts of it. As has been mentioned in other reviews, a large percent of the audience at this venue appears to be 65 and older. At the end of a very well-done "Angry Dance" when Billy screams and drops to the stage, there was a very short and muted bit of applause, which ended before Nicholas had climbed back up to his feet. He stood there dusting himself off and staring at the audience, which was sitting there in awkward silence. As he walked off the stage, there was another short bit of applause as if the audience was realizing that the number - and Act 1 - were finished.
I liked the idea of Billy, Michael, and the tall boy actually collecting money from the audience as the 2nd act is about to begin. Pretty clever way of collecting money for the theater scholarship, while allowing the boys to interact with the audience partly in character and partly as themselves. When Nicholas reached in to hold his bucket out to the woman sitting next to me, she dropped the money in while also taking a picture of him with her cell phone. He paused and gave her a smile when she was taking the picture. I was surprised none of the ushers stepped in to give her a disapproving reminder to put her camera away.
So all in all, a very enjoyable and impressive production. With most of the actors being first-time performers in this show, it provided encouragement that productions of high quality such as this can continue to be done without having to rely on former cast from Broadway, the tour, etc.
Re: Drury Lane Reviews
After reading the multiple wonderful reviews from BETM veterans, it was high time for me to make my way to Drury Lane to have the experience for myself. Joining the mini-reunion this Thursday wasn't going to work out for me, so I did the two shows yesterday, Sunday May 31, instead. Worked out well getting to see Kyle in the afternoon and Nicholas in the evening. While I am glad I made the trip and mostly agree with the views shared previously, there is one small but significant qualification I think needs to be made.
As others have done, I won't repeat comments (with just a couple exceptions) that have already been made about the difference in the production and the excellent cast. It was great to see some adaptations for all the major roles with almost no misfires. The interpretations made sense and fit the script and staging changes well.
I will submit that on Solidarity, it seemed to me that this choreography loses a lot of the escalating conflict between the miners and cops. Perhaps this is deliberate, since the two groups merge into one a lot earlier, performing exactly the same dance moves rather than remaining distinct. I happen to think Peter Darling's original arrangement for this number is the essence of why he deserved a Tony award, but that is personal preference.
Also for my tastes, it was fantastic to see a high level of tap dancing restored to Expressing Yourself.
One item I do have to straight out echo what others have said is the uniformly outstanding, excellent performance by Michael Harp. Beyond the great delivery of lines and representation of Michael, there is also the 110% gung ho effort and always-in-character professional approach. One could say he delivers a paragon level performance that would be worth capturing as a model for others to achieve. However, it takes a lot of charisma, confidence and stage presence to pull it off so convincingly. That is generally pretty hard to find in actors in this age bracket and if another actor attempted replicating this interpretation and came up short, the results could easily be a painfully awkward distraction. Kudos to Harp for succeeding so brilliantly.
So as to the qualification. Upon leaving Drury Lane, I couldn't avoid the feeling that the Billy role in this production has to be regarded as distinct from Billy on Broadway or on the West End or on one of the Tours. Substantial parts are totally equivalent - acting and singing. But as an entire package with the dancing, they are not equivalent. This is not to suggest in any way that Kyle and Nicholas are slouches. Far from it. They richly deserve the acclaim for their achievements, delivering a compelling performance in a challenging role. But in my humble opinion, it is not the same challenge as the London or Broadway productions. I'll leave it at that and suggest that any follow up to this probably would be good for a separate thread.
In the meantime, for any forum members who may still be on the fence as the final week at Drury Lane arrives, it should almost be a no-brainer at this point with discounts being instituted. Oh sure, you still have to travel there, but you will be doing yourself a favor so just do it. All the best to those gathering on Thursday.
As others have done, I won't repeat comments (with just a couple exceptions) that have already been made about the difference in the production and the excellent cast. It was great to see some adaptations for all the major roles with almost no misfires. The interpretations made sense and fit the script and staging changes well.
I will submit that on Solidarity, it seemed to me that this choreography loses a lot of the escalating conflict between the miners and cops. Perhaps this is deliberate, since the two groups merge into one a lot earlier, performing exactly the same dance moves rather than remaining distinct. I happen to think Peter Darling's original arrangement for this number is the essence of why he deserved a Tony award, but that is personal preference.
Also for my tastes, it was fantastic to see a high level of tap dancing restored to Expressing Yourself.
One item I do have to straight out echo what others have said is the uniformly outstanding, excellent performance by Michael Harp. Beyond the great delivery of lines and representation of Michael, there is also the 110% gung ho effort and always-in-character professional approach. One could say he delivers a paragon level performance that would be worth capturing as a model for others to achieve. However, it takes a lot of charisma, confidence and stage presence to pull it off so convincingly. That is generally pretty hard to find in actors in this age bracket and if another actor attempted replicating this interpretation and came up short, the results could easily be a painfully awkward distraction. Kudos to Harp for succeeding so brilliantly.
So as to the qualification. Upon leaving Drury Lane, I couldn't avoid the feeling that the Billy role in this production has to be regarded as distinct from Billy on Broadway or on the West End or on one of the Tours. Substantial parts are totally equivalent - acting and singing. But as an entire package with the dancing, they are not equivalent. This is not to suggest in any way that Kyle and Nicholas are slouches. Far from it. They richly deserve the acclaim for their achievements, delivering a compelling performance in a challenging role. But in my humble opinion, it is not the same challenge as the London or Broadway productions. I'll leave it at that and suggest that any follow up to this probably would be good for a separate thread.
In the meantime, for any forum members who may still be on the fence as the final week at Drury Lane arrives, it should almost be a no-brainer at this point with discounts being instituted. Oh sure, you still have to travel there, but you will be doing yourself a favor so just do it. All the best to those gathering on Thursday.
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CJ-Rochester
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Re: Drury Lane Reviews
Thanks for posting the nice reviews, Todd and atreyu. . Glad you were able to make the trip to see this outstanding production.
Re: Drury Lane Reviews
I feel compelled to differ strongly with a reviewers contention that Kyle Halford and Nicholas Dante's role interpretations at Drury Lane are somehow "distinct" from Billy's on Broadway, the VP, or the Tours. "Substantial parts are totally equivalent...but as an entire package with the dancing, they are not equivalent."
"Nic and Kyle," he says, " really deserve their acclaim for their achievements, but it is not the same challenge as the London or Broadway productions," whatever that means. Not only does there appear to be a contradiction in those statements, but I contend as a long time observer of this musical in 16 different global venues, Drury Lane's Billy's would not play second fiddle to anyone.
Certainly, if "substantial parts are equivalent" the major dance scenes and numbers at Drury Lane are executed beyond a fault when compared with the Originals. They run the gamet! Nic and Kyle's transition throughout "Solidarity" is visually spot on, with their final poses delivering the usual iconic moment of discovery which always stills the audience into utter silence.
"Expressing Yourself" in its entirety, displays the boy's humor and tapping ability with Michael Harp, and which is both unique in its ingenuity, and unmatched. "Born to Boggie" delivers little variation from the original with all three tapping to their hearts content. True, no cartwheels off the piano...but who really cares?
The "Angry Dance" differs only in the number of policemen and miners involved, slightly reducing the amount of chaos during the scene, notwithstanding, the slow motion interval. But, otherwise, Kyle and Nic demonstrate the usual visceral and emotional explosions, aggressive tapping sequences, and physical gyrations which leaves their audiences ehhausted.
Sorry to inform the public! But the "Dream Dance" incorporates aerial moves of such radiance and ingenuity, one can draw comparisons between the two boys and angels in flight. The scene is surreal...it is stunningly executed, and incomparable. I haven't seen anything like it anywhere.
These two extraordinary youngsters have met every challenge asked of them and have produced a version of BETM which could take over a stage anywhere. Not to exclude their "Electricities," there are elements of improvisation in their dances, but in combination with the emotional clarity and pure amplification of their singing voices, the added element of the mirrored backdrop (a la "Chorus Line"), I can't imagine for a moment what else one could hope for from these guys. Who was it who suggested that Billy wasen't expected to demonstrate the "finished product" during his audition, but only his "potential?" Looking like Baryshnikov was not one of their requirements. "Electricity" was true to form. After all, wasen't it the Clip Board Lady who sets the audience up by telling Billy and Dad, "...there is no dance."
Finally, the Community Celebration to end it all is spectacular, as usual, in itself, and gives us a Nicholas Dente and Kyle Halford who would match wits and skills with the best of them and, in fact, deliver us us two Billy's the likes of whom we've come to admire and cherish anywhere.
"Nic and Kyle," he says, " really deserve their acclaim for their achievements, but it is not the same challenge as the London or Broadway productions," whatever that means. Not only does there appear to be a contradiction in those statements, but I contend as a long time observer of this musical in 16 different global venues, Drury Lane's Billy's would not play second fiddle to anyone.
Certainly, if "substantial parts are equivalent" the major dance scenes and numbers at Drury Lane are executed beyond a fault when compared with the Originals. They run the gamet! Nic and Kyle's transition throughout "Solidarity" is visually spot on, with their final poses delivering the usual iconic moment of discovery which always stills the audience into utter silence.
"Expressing Yourself" in its entirety, displays the boy's humor and tapping ability with Michael Harp, and which is both unique in its ingenuity, and unmatched. "Born to Boggie" delivers little variation from the original with all three tapping to their hearts content. True, no cartwheels off the piano...but who really cares?
The "Angry Dance" differs only in the number of policemen and miners involved, slightly reducing the amount of chaos during the scene, notwithstanding, the slow motion interval. But, otherwise, Kyle and Nic demonstrate the usual visceral and emotional explosions, aggressive tapping sequences, and physical gyrations which leaves their audiences ehhausted.
Sorry to inform the public! But the "Dream Dance" incorporates aerial moves of such radiance and ingenuity, one can draw comparisons between the two boys and angels in flight. The scene is surreal...it is stunningly executed, and incomparable. I haven't seen anything like it anywhere.
These two extraordinary youngsters have met every challenge asked of them and have produced a version of BETM which could take over a stage anywhere. Not to exclude their "Electricities," there are elements of improvisation in their dances, but in combination with the emotional clarity and pure amplification of their singing voices, the added element of the mirrored backdrop (a la "Chorus Line"), I can't imagine for a moment what else one could hope for from these guys. Who was it who suggested that Billy wasen't expected to demonstrate the "finished product" during his audition, but only his "potential?" Looking like Baryshnikov was not one of their requirements. "Electricity" was true to form. After all, wasen't it the Clip Board Lady who sets the audience up by telling Billy and Dad, "...there is no dance."
Finally, the Community Celebration to end it all is spectacular, as usual, in itself, and gives us a Nicholas Dente and Kyle Halford who would match wits and skills with the best of them and, in fact, deliver us us two Billy's the likes of whom we've come to admire and cherish anywhere.
Re: Drury Lane Reviews
First of all, it is not about the interpretations by the two boys. It is largely about the choreography that they are asked to do in this particular production. While it may be closely aligned with and tailored to each individual's strengths and weaknesses, when both Kyle and Nicholas perform the same moves for a particular number, it indicates that is the Drury Lane choreography that is in play. It is not a matter of interpretation.cws8998 wrote:I feel compelled to differ strongly with a reviewers contention that Kyle Halford and Nicholas Dante's role interpretations at Drury Lane are somehow "distinct" from Billy's on Broadway, the VP, or the Tours.
Instead of going through each song or each move or analysis at that level, the difference as I perceive it can be summed up in this single observation. The Chicago Tribune article linked in Nicholas Dantes' thread makes reference to 7-day-a-week rehearsals for 4 weeks. That's impressive. Highly commendable.cws8998 wrote:"Nic and Kyle," he says, " really deserve their acclaim for their achievements, but it is not the same challenge as the London or Broadway productions," whatever that means.
Okay, so what were the rehearsals like for the Billys who performed on Broadway, the West End and the Tour? Typically on the order of 6 months. Six months. Even taking into account that Kyle and Nicholas are training at 14 years of age compared to 11- and 12-year-olds at Billy Camp, can 4 weeks intense training produce the same results as months of Billy Camp? Has Drury Lane Productions discovered secrets to training Billys that Finis Jhung and BT McNicholl weren't able to figure out? To my eyes, the answer is no and thus a different level of choreography at Drury Lane. Others may see it differently and if that is the case, we can agree to disagree.