Matinee - Saturday May 21st

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kport
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Matinee - Saturday May 21st

Post by kport »

This is the first truly local production of Billy Elliot that I have attended. The Hexagon Players of Mendham seek 'to provide consistently high quality community theatre' for Mendham NJ and its surroundings. It is important to take note of that description, when reviewing this production, which took place in a church hall that could easily have been the Miner's Social in Easington. The stage is built out from the wall at one end, and at floor level is a wooden dance stage no more than 25 ft square on which to execute all of the big numbers. Billy's bedroom is to one end of the stage, and can be reached by a long bunk ladder. Other props are wheeled or carried on to the stage. Some scenes, like the loo scene, are left to our imaginations. All in all, it was an entirely new experience for me, after having seen more BETM shows than my bank manager's blood pressure numbers combined! Being forewarned that it might not have Broadway's bells and whistles, however, I checked all my preconceptions at the door and sat in my metal folding chair, set among the audience of 150 or so, literally around the edges of the dance floor, and prepared to enjoy an experience that, for me at least, would be different.

My verdict? This production makes this story come alive for me in new ways that I have not experienced before! First, the story is told against relatively reduced music and choreography. Second, the experience is intimate: it is not unlike the scene at the end of Finding Neverland, when Peter Pan is brought into the home to entertain just the sick mother and her family. And when I say 'in', in the case of this production, I mean just that: not only does the cast exit and enter through the audience, but they have seats among us from with they would sit, speak or sing when not on stage. Even more interactive is using some of the audience to join in to the action on stage; for example, at the end of Expressing the five boys on stage invite five audience members to put on women's clothing and take part in the final chorus line (ergo 'the Big Dresses'!) Before the start of the second act, various cast members among the audience start chatting with us about Maggie, the strike, Dad's frustrations with Billy, while in complete character. It is all a brilliant way to engage everyone in this story.

The cast do a great job with this musical, acting with confidence and real love for the story. Accents are a little variable, but enough to add to the regional feel. The language is made PG13, though I was amused when 'hoo-hoo' is replaced by the original 'f**ny' which, in the UK at least, is not one's posterior but a more ribald version of 'hoo-hoo'! 'Bugger' and 'Knob Head' are also used, which would get Billy a double detention (or 'the high jump', in those days) in his school. Perhaps the most outrageous (good!) accent and over-the-top performance is that of the Scottish Dancer, who is 'less cod's-piece' and more 'flamboyantly camp' that I have seen before. The program lists that actor as 'Special Guest Appearance' - but I did notice that the Director had mysteriously disappeared for that moment.....

I will cite just four adults: Mrs Wilkinson is played by Monique Bosrock. The Showbill lists this as her second performance as Mrs W. She certainly plays the part as one with great experience, a good accent, a fine singing voice and a strong rapport with the children. Dad (Robert Nicholson) nailed his roll; his accent was nigh on perfect Geordie and his singing top notch (Deep into the Ground was ace!). He must reprise this role elsewhere. Grandma (Lori Quann) was also outstanding; in Grandma's Song only her husband (played by Tony, in period clothes, which make sense; the grandson playing his grandfather) comes out to dance with her, meaning that their fraught relationship can be played out during the entire song. Tony (Juan Ortega) also has a perfect accent and tone in his voice. His stage presence and his acting is powerful and effective. The rest of the adult cast are confident and really enjoy their roles.

The children are of two teams, that play alternate shows. I managed to only see Parker's team, so I cannot comment on Team B, but the cast members tell me that they are every bit as accomplished. Debbie (Danielle Becht) is perfection in a tutu; I love the way she will kick her mum in the bum whenever mum ignores her! There are only four ballet girls in each team, plus Debbie, but they team up with Dance Swings (plus Michael and Billy) to create an ensemble of ten children, five of each gender, for the big dance numbers, which rely heavily upon the children. I must single out these three Swings for praise: Christian Conaty, George Loheac and John Potash. They are an entirely new concept for this show: in Billy's big numbers (Expressing, Angry Dance and Dream Ballet) they appear on stage in a supporting role that replaces Big Dresses, Angry Miners and Older Billy, that simply would not have worked on this small stage. It dawned on me that Billy does have contemporary friends, besides Michael, so why not? Their dancing was other-wordly, interpretive and meaningful, especially at the start of Angry Dance, when they came out looking very much like the boys in Matthew Bourne's Lord of the Flies. They are three very talented dancers and actors, and this novel approach really made an impression on me.

Michael (Bobby Becht) is outstanding. In fact, he must try to find another chance to play this; he is a fine actor and singer, and a good tapper. Small Boy is Thomas Becht (yes, the same family!). As usual, Small Boy starts the musical, but in this production, he ends it, by climbing back on stage to begin a ballet lesson with Mrs W, after Billy and Michael depart. Life must go on, even if Billy has left........

But the real revelation is Parker Fullmore, who is the youngest Billy on record (10 years and 12 days, so he tells me!), and with such talent and heart for the role that you think he must have been training for this for years. He is another Billy who saw the musical years ago and decided then he wanted to play Billy one day. His acting skills are very confident and mature for his age (what a smiler!); his dancing, from what little I could see from my seat, was fluid; and his singing voice is outstanding. I predict big things lie ahead for Parker as Billy - to have these levels of skill at such a young age means that anything is possible. Regional and Professional theatres: take note of Parker!

The show runs a full three hours, and they were hours which made me feel I was a part of the show as well. I learned again that the story behind Billy Elliot is so universal that there is more than one (or two or ten) ways to present it. This is not a venue for extravagant choreography - there simply is not the stage for it - but Solidarity (against which I measure a show's dance) is remarkably effective. Small quibbles: the accompaniment (synth and percussion; some was prerecorded) is somewhat muted, and most actors are not mic'd. Still, in a room no bigger than a small hall, they are probably not needed, and might well have intruded.

There is a finale, after which the cast came on stage to take their bows (Mrs W actually did a handspring onto the stage!). We were asked to sit while Mrs W and Dead Mum sang a farewell 'The Letter' to Parker, reducing many to tears. Whatever community theatre may miss, in terms of fancy bells and whistles, was amply made up for by the effort, enthusiasm and sheer love this cast have for each other, and for Billy Elliot the Musical.

This is, indeed, 'consistently high quality community theatre'! Nice job, Hexagon Players!
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CJ-Rochester
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Re: Matinee - Saturday May 21st

Post by CJ-Rochester »

Thanks for the review, kport. I really like hearing how these companies keep coming up with new and creative ways to tell the story! I had heard about their use of a few boys as "dance swings" and thought it sounded like a great idea.
Re Monique Bosrock. The Showbill lists this as her second performance as Mrs W.
When I read this my first question was "where else has she played Mrs. W?"

Her bio on the website says: "Monique is honored to be returning to the Hexagon stage in her second performance as Mrs. Wilkinson." I would call this wording awkward, as it can be interpreted different ways. I guess we should read it as being her second performance at Hexagon, rather than her second performance as Mrs. W. 8-)
kport
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Re: Matinee - Saturday May 21st

Post by kport »

I would like to add that this production includes something that has been sadly missing in some regional shows: the rope skipping is back (including some impressive cross rope skips by Parker)!
annmarie13
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Re: Matinee - Saturday May 21st

Post by annmarie13 »

Thanks for making the trip Kport - it means a lot that a superfan like you enjoyed our little production. It was a wonderful experience and we are glad to have been a part of it.
Also I talked to Monique (Mrs. W) this was her first time in the role but her second production at Hexagon.

Hopefully Parker will be able to play Billy again soon ("fingers crossed, eh?")
:)
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kport
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Re: Matinee - Saturday May 21st

Post by kport »

Hopefully Parker will be able to play Billy again soon ("fingers crossed, eh?")
I have no doubt! Thanks for your kind words, and thank you to all at the Hexagon Players for a wonderful show! This musical is very special....
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