March 2011 Reviews - London

[Yorkie]

I saw the show last week and the camera was still there, but the photo is now stuck to the bottom of it. The flash still works but Michael just pulls the picture from the bottom of the camera. There is what I remember of the normal dialogue - 'one for the album'? - and Michael then sticks it to the mirror. That was in the shows up to Saturday evening - have they dropped it since then?

It has certainly been dropped since Monday anyway Yorkie as there has been no camera at all this week,
just the "I think you'd look cush in a tutu" line.

Not sure if it is a permanent change now or as Ellen has said it could be that the change this week is simply due to expediency, since the camera has refused to work recently and If they can get it working again/find a replacement, it could make a reappearance.

Loved how Reece used to always stick the picture of Billy upside down on the mirror and how Jake always used to kiss the picture before sticking it on the mirror. Brilliant little touches along with many others over the years from all the Michaels.

Going back to the show on Saturday evening, so will see if the camera makes an appearance or not.

Thanks for the update Keefy - it was a little cluncky with the photo stuck under the camera but it worked well enough and I'm sure only those of us in the cheap seats noticed. I'll be there on Saturday as well; somewhere on row B iirc.

[cws8998]

Whoa..! "Hold on a minute..!"

Have I actually seen "Billy Elliot the Musical" for the first time? That surely can't be, given I saw it at the VP some odd three years ago; seen it all over the States; NYC, through Chicago to Minneapolis and Tampa. Too many times to count.

But the performances I saw this weekend, beginning Thursday evening at the Victoria Palace with Rhys Yoemans in the lead and Connor Kelly as his side kick, was executed with such precision and enthusiasm, I must say in all honesty, I was moved with the same amount of gittiness a child might display upon discovering a new toy.

As always, it's the Billy who does it for me. Rhys vacillated between a sense of vulnerability and assertiveness with such measured emotion, he left me feeling joyfully exhausted. Really, it is his vulnerability which sets the table. It's the one characteristic to which I've always been attentive in observing all Billies, as they transition through the first act to that glorious and Poignant position of beauty maintained at the very conclusion of "Solidarity" and which marks a point of their discovery just as the number ends, "forever, for e.v.e.r," I always seem to be forever washed by the moment.
Naturally, it followed that his "Electricity" would strike everyone in the Palace to a stunned silence until its ultimate conclusion. Wow! Precise in articulating each word, each sentence, in a slow sequence as if to benevolently search the depth of his own soul as to how he felt, Rhys seemed to know the precise moment he had his audience convulsed in a cold sweat. That seemed to trigger his anxious but confident assertiveness as he almost shouted the lines of the last verse. Of course, that caused me to hold on to my seat, as I knew what was coming next...a sizzling ballet routine which can only be described as perfect poetry. At its conclusion, he held firm throughout the wildly enthusiastic and extended applause and shouts, as his expression ran the gamut from a mischievous broad smile of joy to the stern expression of a seasoned pro who knew he had just conquered all of us. He was truly picture perfect throughout.

On the whole, however, I can't begin to list all the nuances of the London production in contrast to those I've seen around the States, and which gave me cause to say, wow, this is not the same show to which I had been accustomed. You see it so many times in the US, one has to be careful in assuming it's the only way the show should be produced. Well, I do express appreciation to the VP for quelling that rather narcissistic "mental" block. Every scene seemed to have some twist which gave the show a bit of a new life in intensity for me. Two quick examples...the full chorus of miners at the opening ["The Stars Look Down"], to the audition scene at show's end.
Notable as well, at least from my own perspective, were Ms. Wilkinson and Grandma. They were absolutely superb in their presentations. Grandma came across as anything but "old and stiff." For me, she was youthful and vibrant. Terrific animation, clarity, and her humorous character added a real dimension of energy to the shows I saw on this trip.
I never for a moment got the sense that Ms. Wilkinson over played her role. Her demeanor during "The Letter" impacted me to the same depth of sorrow as did Rhys and Dean. Mum also displayed a soft tenderness I had come to miss in some US productions, when in the three shows I saw at the VP this weekend, she was right in unison and pitch with Ms. W., during this very significant and emotional moment in the show.

Rhys and Conner's "Expressing Yourself" was classical, even as they carried on a quick dialogue between them, but without the slightest loss in clarity. Suffice it to say, you just sense with both Rhys, Dean, with their complemented Michaels, that their choerography would be executed without a fault...and they were. As a followup, I might also add, that this was the first time "anywhere," that I witnessed a "Born to Boogie," performed in perfect unison between Rhys, Ms. W., and Mr. Breathwaite. I couldn't believe my eyes. I guess the only disappointment, perhaps, was Rhys simply collapsed to his side on the stage in Friday evening's performance, rather than vaulting from atop the piano. Interestingly enough, however, in Saturday evening's performance, He did do the flip of that piano, much to the delight of all of use who may have anticipated it.

The "Angry Dance," was choreographed differently, and I felt not quite as robust a by-play as I've seen in the States. Oh, to be sure, Rhys and Dean carried the day, captivating us with the depth of their anger. Their cries were amplified by echo resonance which served as a terrific vehicle to draw us in allowing us to share their frustrations. In any case, you'd lose the total essence of the dance if you for a moment allowed your eyes to wander from Billy, wondering what else was going on.

And, in speaking of Dean Charles Chapman..! I was delighted I suffered no over-hype in anticipation of seeing him at Saturday's matinee performance. He was as stellar as all the superlatives I have read about him. What command, what an actor, what control he exerted over both the stage and his audience. His interpretation is exactly what makes this musical so enduring within my own psyche. I always want to be vicariously transported by each Billy and Michael to my own youthful desires to be involved in a professional musical theater career, only to have had those dreams shattered by an uncompromising parent, siblings, and peer group. Absolutely nothing is mundane about Dean's performance as he thoroughly resurrected those childhood thoughts of mine, leaving nothing left in the process to be desired. Dean was the first Billy I can recall that laughed out loud enough to be heard in back of the auditorium both during Grandma's song and Micheal's antics. So genuine..! Nothing seems forced or rehearsed from this kid, so spontaneous are his gestures and gorgeous expressions. There is such a quality of realism in his stage presence. I'm sure all the superlatives of which one can think have been used to define Dean. Hence, that is why I prefer best to contribute comments about him in terms as to how he had provide an emotional vehicle for me. I was simply drained by a professionally sensitive presentation of Billy as I've seen anywhere. At least for me, I could pay him no greater complement.

As aforementioned, I saw Rhys Yoemans Thursday evening, so I was a bit surprised when he appeared again in Sat., evening's performance. Was I thrilled..? You Bet..! [Did I read somewhere that today marked one year to the day that Rhys assumed the role of Billy?] But, of course, I'm overjoyed to see any Billy...but a triple-header in one weekend with Rhys and Dean...how in hell can you beat that? Being two seasoned pros, these guys delivered all one could ever hope to see in this role. One would hope for nothing less, when traveling some 7000 from the US Midwest to London's West End. I was truly blessed to have experienced it all. By the way, at the same time, what a respite from some to 2 to 5 hundred thousand protest marchers on Saturday. Trying to get to the Victoria Palace was an absolute nightmare, no thanks to the Victoria Tube line breaking down. I made it with 2-minutes to spare walking and running through the mob.

A couple post-scripts, if I may.

As an example...was I shocked..? Hell no, nothing really shocks me. But I admit to being surprised by the very liberal and much more extensive use of course language, which by my own observations, has been considerably toned down in the States. Kudos, to the London version of this show, for sticking to the original intent of the powers to be who wrote and produced it. In the VP presentation, I felt like a member of the mining community without a sense of being whitewashed from its original character.

I love the intimacy of the VP. It's so much different than the cavernous venues in the US, with perhaps, the exception being the Imperial. One thing I do miss, however, is the lacking of such a thing as a "Playbill" through which, a least a "foreigner" like myself could scan the performing cast and their bios. Very clever on the VP's part. The only way to do so was through the official program costing over 7 US bucks. Only a bill board in the lobby posted today's Billy, Michael, and Debbie for that performance. Oh well, what the hell, I purchased an official program, anyway, even though I had a couple at home from other US venues.

Can I say how impressed I was with the black and white photo displays of Billies adoring the Victoria Places' lobby walls. Absolutely a terrific touch. I would love to have flown back to the US with the lot of them.

Also, something else I may have missed..? I've always felt deprived of expressing my full appreciation for the performances of Billy [Michael, too, for that matter], during the curtain calls. What happened to the call whereby Billy stands with his back to the audience facing a large Board of light bulbs spelling "BILLY." He then turns to face a cheering audience with a broad smile to receive their adulation and just due. Am I confused, or was that characteristic of the Imperial in NYC? Well, no matter...I think it is the perfect way to provide an appreciative audience a chance to let loose for these lads. In Billy's case, he's obviously the foundation and cornerstone of this show...perhaps the most esteemed role ever in musical theater for a young man his age. I compare it to the adult roles of Jean Valjean and the Phantom. I just wish the audience could have such a special way and final expression sustain just for him personally.

Lastly, I trust "Billy Elliot the Musical" is still a powerful draw in the UK. All three shows I say Thursday and Saturday were massive sellouts and I hope that continues at the VP. Unfortunately, Chicago for us US Midwest fans, was a deep disappointment. I shall say no more in that regard. Looking forward to my next adventure which will come in the fall. New York again, and then St. Louis. Am I severely addicted? Perhaps, but who cares..? Regards to all. Colin W. Stetson

[porschesrule]

Thank you, Colin. I love reading your always complete reviews, but I especially loved your comparisons between the London show and those in the US. Always very enlightening.

Rhys and Dean certainly seem to be at the peak of their powers, as they should be with over 100 performances each as Billy under their belts.

One comment...

The lighted Billy sign in the curtain call at the end of the show is unique to Broadway. I don't believe it's used (nor has it ever been) anywhere else.

[ERinVA]

That's correct, porschesrule, Broadway is the only show that has the BILLY sign. However, in London, Billy gets his own individual curtain call in a slightly different way when the show curtain rises on him alone at the back of the stage (still wearing his tutu). Most of the London Billys I have seen do a series of flips from the back of the stage to the front at this point. After bowing, they then call the rest of the cast on from the wings for the final company bow.

Has that changed since I saw the London show a year ago?

[Deanfan5]

This review is specific to last night's show ( 29th march) with Rhys, Joe, and Fran the main leads.
Firstly let me comment on the audience. I have been to many shows over the 6 years when the audience has been dire and unresponsive. That was not the case last night due to a large school party of girls who raised the roof of VP and gave Rhys such rock star adulation after Electricity and at the finale that a bemused member of the cast asked me later what had happened. Rhys did not need a standing ovation after his well danced Electricity as the cheering went on and on clearly overwhelming our Billy who could not stop smiling. Given all the adulation, the whole audience ended up taking Rhys to their collective heart so much so that when he kissed his mate at the end there were many sounds of empathic appreciation from the audience.
Prior to that however Rhys had stopped the show by coming out of the toilet cubicle in the scene just started with Debbie and marched off stage followed by Fran. The show was stopped for about 5 minutes although it was not clear what the problem was. Rhys appeared well and I wondered if the 'technicality' referred to by the house manager who came on referred to a lack of props for him to change into for the Angry Dance. The only other change of note was the replacement of the small boy ( I think Max) by a taller small boy for Act 2 in the shape of Reece. Due to a late start and the stoppage the curtain scene was as a result shortened.
Rhys Yeomans is like a London bus. I do not see him for ages and then he comes along 3 times on the bounce as they say. This has given me a real chance to think about his Billy portrayal which is somewhat winsome and innocent compared to the sharpness of Scott and Dean. There is a gentleness to this Billy which is totally captivating and engaging and probably reflects Rhys as a person. This was particularly evident in his sensitive Letter which had many in tears last night. Rhys dances and sings very well and his acting is first class but I am left wondering a little how this Billy in reality would have coped with the rigours of the North East mining community.
The other stand out performance for me last night was Caroline Deverill as Mrs Wilkinson. Very athletic as shown when she boxed Billy all round the stage in Born to Boogie. A very intuitive and sensitive portrayal which matched the softer tones of Rhys' Billy perfectly.
Finally back to the audience. Clearly they do make for a great night out as much as first class performances and last night we had both. I am glad to report therefore that Victoria Palace rocked to it's aged rafters.