Gateway Reviews: July 22 - August 8

[CJ-Rochester]

Here is a very positive review in NY Theatre Guide. I had problems getting this page to display correctly. It looks like possibly something wrong with their website. Eventually I tried the link in Internet Explorer and was able to read it.

http://nytheatreguide.com/2015/07/theat ... playhouse/

[angelenroute]

Thought of one more little note from Saturday's matinee performance: when Billy first takes flight in Dream Ballet, the audience broke into loud applause right away. I was impressed with that. Says a lot about how impressive it was for this theatre and crowd!

[angelenroute]

N e w s d a y reviewed Billy Elliot at The Gateway:
http://www.newsday.com/entertainment/lo ... pts=817364

Billy was born to dance. "Mum" might have foreseen his destiny, but she died when he was a little boy. Dad, a coal miner who thinks dance is for girls and gays, is distracted by a strike.

The success of The Gateway's Long Island premiere of "Billy Elliot," a best-musical Tony and Olivier award winner on opposite shores of the Atlantic rests on the slender shoulders and nimble feet of a boy who can pass for 11. Mitchell Tobin, a gangly teen with the baby face of a tween, alternates in the demanding role with 12-year-old Brandon Ranalli, a season 6 "America's Got Talent" semifinalist. Tobin, who played Billy in London and on national tour, performed with disarming grace on opening night.

A crisp three hours as directed by Steven Minning, "Billy" takes place in a northeast England mining region at the height of Margaret Thatcher's power. It's 1984 and the prime minister is determined to break the mineworkers union. A way of life is at stake. Billy's brother, Tony, and their father are on strike, along with virtually every working man in the gritty town of Durham (appropriately dingy sets and lighting by Campbell Baird and Doug Harry). Dad pays for boxing lessons to keep Billy out of after-school mischief. When his coach asks him to give the keys to the gym to a dance instructor who shares the space, Billy gets his first glimpse of ballet (rhymes with valley as pronounced in Durham). Billy soon turns in his boxing gloves for ballet slippers.
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Janet Dickinson as the wisecracking dance teacher convinces us of her good intentions in encouraging Billy to audition for the Royal Ballet School. Craig Bennett is both gruff and good-hearted as Billy's stressed dad, while Brandyn Day as Tony reflects the hothead faction of the anti-Thatcher miners.

Accompanied by Colin Welford's orchestra to Elton John's music, Patti Perkins as Grandma reveals that dance is in Billy's blood, singing of her woeful marriage in which the only bright moments occurred on the dance floor with her late husband. Ethan Eisenberg as Billy's cross-dressing pal (costumes by Dustin Cross) almost steals the show with comic relief from violent confrontations between strikers and coppers (percussive choreography by Alison Levenberg).

But it's Billy's dreamlike "balley" sequence, enhanced by Peter Pan-like maneuvers, that truly steals the show.

Gateway's "Billy Elliot" soars -- literally and figuratively.

advertisement | advertise on newsday
WHAT "Billy Elliot," by Lee Hall and Elton John

WHEN | WHERE 8 p.m. Tuesday, July 28; 2 and 8 p.m. Wednesday, July 29, Thursday, July 30 and Wednesday, Aug. 5; 8 p.m. Friday, July 31 and Aug. 7 and Tuesday, Aug. 4; 3 and 8:30 p.m. Saturday, Aug. 1 and Aug. 8; 7 p.m. Sunday, Aug. 2, through Aug. 8, Patchogue Theatre, 71 E. Main St.

TICKETS $54-$89; 631-286-1133, pacsc.org

[porschesrule]

The website Dan's Papers offers this very positive review of the Gateway Playhouse production of BETM:

http://www.danspapers.com/2015/07/billy ... ctrifying/

[angelenroute]

The website Dan's Papers offers this very positive review of the Gateway Playhouse production of BETM:

http://www.danspapers.com/2015/07/billy ... ctrifying/

What a great review!!! He wrote that with so much delicate passion and sincere admiration. One of the best reviews I've ever read, actually!

Sean

[porschesrule]

Here's another great review of the Gateway Playhouse production from The Long Island Advance:

https://www.longislandadvance.net/2182/ ... resistance

[angelenroute]

Hi again, all! Yesterday I had a very nice dinner in Patchogue with kport, CJ-Rochester, jdmag44, and atreyu. They saw the earlier show with Brandon on as Billy, so I hope they'll weigh in soon with their reviews, which I know will be glowing. We ate at a small pub nearby between shows, but some of the patrons had just seen the matinee as well, so it was a friendlier, happier atmosphere than I thought it would be when I first walked in. I even heard the bartender reference Billy Elliot: "I've been dancing around this place like Billy Elliot all day".

I was just there for the evening show with Mitchell, and my observations this time are less about the show, and more about the atmosphere in general.

The sound system and pit location make it difficult to hear the lyrics at times if you're sitting in the first couple of rows, especially close to the center. The Patchogue Theatre for the Performing Arts needs some kind of better speaker system that accommodates this area.

The place was only about a third full, maybe less, and that really disappointed me, especially since this cast and production are truly incredible! Gratefully, it was a VERY good audience last night, and the cast responded VERY well in turn.

That said, there were a small handful of sometimes weird, sometimes funny, sometimes scary occurrences last night:

1) Not one but two of the policemen's batons fell off the back of the ballet girls' chairs after Solidarity when Jackie walked in.
2) One of the objects Billy threw at the riot shields bounced off the stage and landed on the tarp covering the orchestra pit.
3) Small Boy once again (does he do it on purpose? because now it's just very funny to me) dropped the last of his coins on the floor in front of Billy.
4) Billy dropped one of the dresses near the start of Express, which made both Ethan and him laugh.
5) Billy got his shoes on first, and Mitchell added a line at the very last moment before the "Push!", something like, "I'm just faster". I know that kind of ad libbing is more popular in London, so thank you, Mitchell, for bringing it back here with you!
6) Billy counted only 10 pesos.
7) Clipboard woman nicked the purple velvet curtains with Jackie's cigarette as she left, and as that set piece rose, many in the audience held their breath, because we could clearly see this little spark resting comfortably on the curtain as it rose up into the air. Do we wait for flames to break out, or do we just tell someone? I imagine none of us did anything, and as the theatre hasn't burnt down from what I can tell, it must have just made a little burn hole in the curtain. I'll look for it next week!
8) There were some strange noises behind the sets at a few different times throughout the show. Each time, I looked to see if I could see anything wrong, but nothing caught my eye.
9) Billy (Mitchell) rubbed some ice cream on Michael's (Ethan's) right cheek in the soup kitchen scene after Electricity. I'd never seen him or anyone do that before, and it was such an adorable moment, especially watching Ethan's face as he held back an otherwise big smile at Mitchell.
10) Mitchell missed kissing Ethan's cheek, so he did it a second time immediately after, which made Ethan smile a bit.

Now I'm really not a fan of gushing too much over cast members, because, quite frankly, it can come across as creepy. That said, I'm allowing myself a small moment here about three cast members.

Mitchell Tobin (Billy): Where do I begin? This boy really is someone who is very, VERY f***ing special, let me tell you. Obviously I don't know him, and have hardly met him a few times now, but he just gives off this really great vibe, and I'm so happy I got the chance to see him perform this role again. His acting skills and dancing in particular are amazing, and what impresses me just as much is his timing. When a new boy takes on this role, he tends to be a little too quick or over the top to land a joke. Instead, Mitchell takes his time, and really captures the audience's attention with his every move. It's quite something witnessing someone who's been in the role as long as Mitchell has. It really does feel like you're watching and later speaking with a major player in Billy Elliot history worldwide...because you are.

Emily Martin (Tracy Atkinson): Emily lives right there in Patchogue, and this is her first major production. She's still in Middle School (6th to 8th grades) too! And you wouldn't believe how freakin' good she is!!! I've seen the show three times now in Patchogue, but last night I was in a great seat in the front row right by the steps down to the aisle, so I was able to notice this girl much better. Wow! She's got the most perfect faces throughout, and she really gives off the impression of future greatness as the lead star of a show. I know that sounds like quite a lot to pick up from a smallish role, but I truly believe it! And I will try to follow her career going forward too!

Ethan Eisenberg (Michael): This boy is amazing. He's also a local, and has the usual list of credits to his name you might expect: Ralphie in A Christmas Story, Pugsley in The Addams Family, and Michael in Mary Poppins, among others. I regret not having seen him in any of those other roles now, but you better believe I'll try to catch him in other work going forward. He's just got this extra confident stage presence that makes for a killer Michael Caffrey in Billy Elliot The Musical. You see it in his poise, the way he keeps his chin up all the time, and you see it in his smile, the knowing flash of charm that says, "I own this stage, and I've got this audience in the palm of my hand". He's just so, so great, and I'm so impressed with how he handles this role, as well as how he comports himself with the fans at he stage door too!

Before this show rolled into town, I hadn't seen Billy Elliot The Musical since Hartford over two years ago. Once it's gone after next week, I have no idea if I'll be able to see it again anytime soon. I'm grateful to all the cast members and their family members who I've gotten to know over the years. I know I'm not part of the Billy Elliot family as it's felt backstage or even at the stage door, but I sure do appreciate the kindness of all the cast and all their moms, dads, aunts, uncles, and other family members who take the time to let us gush every now and then. I really will love you all forever, and promise to support the cast whenever possible, in whatever they do going forward!

Sean

[jdmag44]

Thursday July 30----------- 2 pm Brandon--------- and 8 pm Mitch.


Most of my comments and observation will echo previous forum member so I will be brief.
This production is best summed up as "the tour brought back to life" by way of an injection of enthusiasm and joy. Very very well done. Janet and Patti were in top form brought back to me many many wonderfully memories of the tour.

Brandyn Day was wonderful as Tony I thoroughly enjoyed is performance. The ballet girls were fabulous so talented and so well trained they certainly did "shine"

I was surprised, no "gobsmacked" at the performance of young Mr Ranalli. He is a star on the rise.
He has an amazing presence on stage and had the most wonderful facial expressions and emotional responses, enough to convince me of his natural acting ability. He clearly arrived with advanced tap and ballet skills. and had no problem with the original choreography. even in the tough numbers Angry dance and Electricity both of which blew me away. He's got it ! I hope he has more opportunities to play this role.

The last time I saw Mitch was a year ago in London. At this performance I thought I was seeing an older brother. The change is dramatic. Most notable his height and voice, which he pulled off quite well. One hundred and 60 some odd shows and he still sheds real tears. Being taller and more muscular gave is ballet moves a special elegance and his dancing was off the scale. I was so happy to see him one more time.

It was a treat to meet up with many forum members. we had a chance to share meal and to rewnew and enjoy out friendship. Thanks guys.

[kport]

I would like to chip in my agreement with angelenroute and jdmag44 - yesterday's two shows where absolutely fantastic. This production IS 'the tour brought back', with a fantastic cast and production crew, with new energy and a few twists and turns that keep the story fresh. It was fascinating observing 'the two ages of Billy' - the fresh faced, boyish 11 year old portrayed by 12 year old Brandon Ranalli, and the more combative 14 year old teenager, played by the venerable international veteran, Mitchell Tobin. I was singularly impressed by the way the story works, played either way. Mitchell continues to stun the audience with his dancing, his acting and his ability to throw in the little joke, action or comment that displays his complete confidence. I will save my 'review' of Brandon for his cast thread.

I have been to four regionals so far, and in every one I have been madly impressed by the ballet girls, who seem to have a uniformity of appearance, dance skills and acting roles, wherever they turn up. Someone must have produced a very detailed set of casting rules and stage directions to produce such a uniformity of excellence I have seen from them, whether in Ogunquit, Raleigh, Drury Lane or Patchogue. Truly excellent; and in every case it is evident they are having the time of their lives. In an earlier review, I should have mentioned that, in Electricity, they appear and dance with one row wearing Billy's dress, and the other wearing Michael's. It works very well; and I do appreciate 'Expressing' being performed by the children only; it is not a moment for adults.

I discovered that the Patchogue Theatre is, in fact, hired by The Gateway when a larger venue is needed than the latter's own very fine theatre. It seats about 1200+, with a balcony. In my humble view, that is a hard number of seats for any regional venue to fill, especially in the height of summer. It seems to average about half that number these days. That being the case, why oh why do they sell balcony seats, rather than close it and fill the (far better) orchestra seats? I am sure no one from the production reads this, but another 'trick' to fill seats in the later days of a lengthy run is to use such 'deals' as 'show your used Billy Elliot ticket to buy one at 25% off' - in other words, a reward for repeat audience members. It is an incentive that is wildly used, especially when tickets are priced fairly high in the first place.

Sean mentioned Small Boy's 'aiming skills' as he missed dropping coins in the miner's hat: I was close enough to see that the coins are, in fact, metal washers, and the hole made them adhere to his finger rather than slide off effortlessly. Also mentioned is the weakness of the sound system for those in the front two or so rows: the speakers seemed aimed behind those rows, so what is heard are the drums or the horns from the pit, almost drowning out the voices.

During that matinee, as Brandon and the cast performed the Finale, I could see from my seat a figure dancing his heart out with the cast, from behind the wings. Mitch was having a blast!

It is a fantastic performance, so I will repeat my recommendation to see it if you haven't already.

[kport]

A review from the New York Times:

http://tinyurl.com/nacpv2q