June 2010 Reviews - Chicago

[CJ-Rochester]

Glad to hear you made it there Ellen, and were at least able to enjoy some of the show. Looks like Chicago will be well covered by forum folks this whole week.

[cincinnati]

I saw the Wed. mat...with Tommy and Keean....these two knocked the afternoon crowd dead....what a show....

[ERinVA]

I saw that show as well, and yes they certainly did! The house was packed with groups from tour buses, so it was a really large audience.

[Todd]

Saturday evening, June 26

Billy - J.P. Viernes
Michael - Gabriel Rush
Mr. Braithwaite - Will Mann
Big Davey - Kent Lewis
Dead Mum - Susan Haefner
All other cast members were regulars

I hadn't planned on seeing a performance of BETM while I was in Chicago visiting friends this weekend but the lure became too hard to resist ! So I was able to fit in one performance, which turned out to be a very good one.

I was happy to see J.P. Viernes' name on the cast board when I walked in, as he was the only Billy I didn't see in my series of shows on opening weekend back in April. I continue to be amazed at the consistency among the Billys, as you're pretty much guaranteed a first-class performance no matter who's performing that night. I thought he might have a hard time measuring up to Tommy, Cesar and Giuseppi since I had been so impressed with them, but I thought his performance was very consistent with theirs.

J.P. has a very nice singing voice - right on key and very tuneful. His dancing is incredibly smooth and fluid, as he made it look easy. His spins at the end of "Solidarity" and "Electricity" were textbook, as he kept his pivot foot in the same spot and didn't slide around, as well as keeping his head pointed straight ahead and whipping it back around to the same spot. His acting was very good as well, as his diction and pronunciation were as good as any I've ever heard.

That brings me to one thing that helped make this particular performance stand out: the sound. I don't know if it was the particular spot where I was sitting (Orchestra row O, right in the middle) or if they've made some modifications to the sound system, but the sound was as crisp and clear as any Billy Elliot performance I ever remember being at. It was loud when it needed to be loud, and every word of dialogue - from every character - was clean and easy to understand.

A couple of minor malfunctions: when "Deep Into the Ground" was starting and the accordian player (the actor who was filling in for Mr. Braithwaite) got confused and was playing the wrong chords. He finally stopped and picked up a few measures later when he figured out where he was supposed to be. Then when Billy stands up and helps Dad finish the song, J.P.'s microphone wasn't turned on as you could hear him singing from the stage, but not amplified. Finally, they got the problem fixed as he got near the end of his verse.

A few other random comments: one line change I hadn't heard before was in the boxing scene when the small boy is about to exit. George yells, "See ya, sunshine." This time the small boy made an "L" on his forehead with his fingers and shouted, "Loser !" Very humorous moment. During intermission, I asked the lady sitting next to me if she had ever seen the show before and she said it was her first time. I commented that she had picked a good spot to sit but that the seats were quite expensive (it was a premium seat that I had paid $175 for). She said, "Yeah, I just bought this right before the show and it cost $100 !" Sounds like they must drop the prices of the tickets as it gets closer to show time in order to help sell any un-sold tickets. Something to think about for future shows - although there's always that risk that the show will be sold out if you choose to wait too close to show time to pay less.

I attempted to make my way back to the stage door to congratulate the cast, but stopping off at the restroom proved to be just enough of a delay that everyone had already left by the time I got back there. Good information to know for those who haven't been to the Chicago show and want to greet the cast - head straight back there, as they're quick to take off once the show's over ! I don't think a lot of audience members know to go back there, as it's not like in New York where you almost always walk past the stage door spot when you leave the theater.

Finally, I was wondering if anyone else thinks the Chicago audiences are more subdued than in London or New York. I watched the show with a friend of mine, and we were both totally caught up in it - applauding enthusiastically and joining in at the beginning of the 2nd Act with the "Are we downhearted?" responses. The guy next to me sat like a bump on a log - not applauding once until the Finale. The audience as a whole didn't react or laugh at lines that usually receive a reaction. After having read the enthusiastic audience comments in the New York thread about how "into it" the audience has been lately and how the theater has been rocking, I can't help but notice that 3 of the 5 shows I've seen in Chicago have had dead audiences. Strange too, since the auditorium Saturday night seemed to be nearly at capacity, so the number of people wasn't the problem.

As a midwesterner, I hope it's not a case of midwestern U.S. theater audiences being un-enthusiastic compared to other places, as I feel the Chicago production is just as good as the ones in London and New York and deserves the same type of enthusiastic appreciation from the audience.

[porschesrule]

Thanks for the review, Todd. We don't see Chicago reviews as often as we do from the other two productions. It was also nice to see a review of a show that featured JP Viernes, as I think he flies a little under the radar compared to some of the other Billys.

Good that the sound situation finally seems to have been rectified though, as you said, that could just be a function of the particular place you were sitting in that big theater. It has to be a bear to properly mic that place and balance the sound.

All in all, sounds like the Chicago production is good hands.

[gpcolo]

Yes, a great review Todd. The two shows I saw in Chicago the audience reaction was fairly mixed. Wild applause in some parts and subdued silence in others. I think some audience members are in disbelief in what they are witnessing and it doesn't fully hit them until after the show is over. I know I cheer more loudly today than I did seeing the show for the first time in 2008. I understand the nuances of the story now and fully appreciate the hard work and unbelievable talent it takes to pull it off.

[CJ-Rochester]

Nice review Todd. TheatreguyLD and I were at the same performance. We were two nuts in the front row who stood after "Electricity". I agree with your observations about JP and the Chicago show in general. JP is an excellent dancer. All of his moves are crisp and well executed. You described his dancing as "textbook", which is right on.

Sitting near the front of the theater the sound is much louder than Broadway. I think they have to do this in order to fill the large space. Small boy's "loser" line with the "L" on his forehead was a change they made in Chicago since the actor playing George is on the slim side, and therefore could not be called a "fat b--tard".

Regarding those $175 premium seats that someone else paid less for, the same thing happens on Broadway. Unsold premium seats are sold before show time at the regular full price. If they happen to be available and you can wait until the last minute, you can be quite lucky. It's a risk to count on it though.

The stage door scene in Chicago is quite different. They have a nice, well lit, alley in back of the theater, but it is around the block. It takes even a fast person a few minutes to get through the crowds exiting the theater before you can get around back. I don't know what the dressing room situation is like, but my guess is the actors have fewer or no stairs to climb after the curtain call. In all 3 shows we saw this weekend, there were always actors leaving the stage door area by the time we got there. Fortunately we did get to meet and greet each Billy of the weekend. I have a few photos that I will submit to the gallery.

[Todd]

Thanks CJ, for your clarification on some of the aspects of the Chicago show. I do indeed remember seeing the two of you stand up at the end of "Electricity." I thought maybe it was two friends or relatives of JP's when I saw your enthusiastic standing ovation ! He certainly deserved it though, as his "Electricity" was excellent. It did receive the longest applause of any number in the show, so glad to see the audience recognized JP's efforts and talents.

Sorry I missed the cast afterwards, as I didn't think we were that slow getting to the stage door. Must have not been a very big crowd gathered there, as they often take about 5 or 10 minutes working their way through the well-wishers in New York.

[Dancer]

Tuesday 22nd June 2010

Billy - Cesar Corrales
Michael - Gabriel Rush
Debbie - Maria Connelly
Tall Boy - Spencer Davis Milford
Small Boy - Mark Page
Mr Braithwaite - Will Mann
Big Davey - Kent M. Lewis

Wednesday matinee 23rd June 2010

Billy - Tommy Batchelor
Michael - Keean Johnson
Debbie - Maria Connelly
Tall Boy - Spencer Davis Milford
Small Boy - Elijah Barker
Mr Braithwaite - Will Mann
Big Davey - Kent M. Lewis

Wednesday evening 23rd June 2010

Billy - J.P. Viernes
Michael - Gabriel Rush
Debbie - Maria Connelly
Tall Boy - Spencer Davis Milford
Small Boy - Mark Page
Mr Braithwaite - Will Mann
Big Davey - Kent M. Lewis

Mr Braithwaite and Big Davey were understudies but the rest of the adult cast were as billed.

For all three shows I was sitting in the middle of row A of the orchestra stalls and had an excellent view of the stage. There is another row in front, AA, but I believe the seats are not usually offered to the public as people were only sitting in them for Wednesday’s matinee show. I will say that the stage is quite high, higher than I expected and almost as high as in London. You won’t be able to see the actors’ feet from at least the front four rows.

It was easy getting used to the sets moving in from the sides rather than coming up from under the stage and all in all it worked well! One slight difference from both the London and New York productions is that the stairs leading to Billy’s bedroom are situated on the right of the kitchen set, not the left.

I’m not going into the minutiae of each show as I’m sure we’re all familiar with how it pans out, but needless to say it was very enjoyable watching a complete “new” cast taking on all the familiar roles. The production is very similar to New York’s with a couple of minor differences including the frying of a real egg for breakfast!

Once again the Gods were smiling on me as for my first show I had Cesar and Gabriel, the two players I was most looking forward to seeing as Billy and Michael respectively. But all the Billys and Michaels are superb, and if I was forced to pick out just one aspect of their performance it would be Cesar’s dancing, Tommy’s acting (just check out his facial expressions!) and J.P.’s singing.

Of the adult actors, both Armand Schultz as Dad and Emily Skinner as Mrs Wilkinson really stood out for me. Emily reminded my a lot of Joanna Riding in London, both in her looks and the way she played the part. She had a good relationship with all the Billys. Some people weren’t too impressed with Armand when the show started but I think he must have settled down now as I thought he was a great Dad. He played the part as a careworn, world weary man who gradually realised that his youngest son could really have some potential in something other than mining, and would do all he could to help him achieve his dream.

There has also been much discussion on the transfer of the US version of Born to Boogie to London. All the Chicago Billys had no problem with the skipping nor did Will Mann as Mr Braithwaite, but in the three shows I saw, Mrs Wilkinson just held her skipping rope but did not actually do any skipping!

The audiences were pretty good in all three shows. I was chatting to my immediate neighbours and those behind me and all were stunned by the ability of the boys. There were standing ovations at the end of each show. One thing I don’t understand is why the productions in both New York and Chicago have a shortened version of the London finale. It seems too short to me!

Todd mentioned the stage door. It is hidden away down an alley and there were hardly any people waiting there when we arrived immediately after the shows. You’re right, the cast comes out quickly! We didn’t see Spencer at all and on the first night Gabriel had already passed us on his way home before we realised who he was. However, it was good to meet all the Billys and the atmosphere was very relaxed and they were all happy to sign autographs and have photos taken. I’ve sent a few to the gallery! There was no pressure from parents to leave, and in fact, Tommy’s dad was particularly chatty!

Finally, one serious omission from the Chicago show – there is no programme, just a Playbill. They were selling the Broadway version instead with the cover being that of the fifth anniversary London show! I asked about this and was told there are no immediate plans to bring out a Chicago version.

So, an excellent three shows, just a pity that I missed Giuseppe on Thursday, but we had only three shows booked and had other plans for that night.

[gpcolo]

Thanks Dancer for the insightful review and your information about the stage door. I have seen Tommy and J.P. so far and agree totally with your perceptions. I also sat in Row A and liked being up close event though you miss the footwork. By chance did you hear any discussion about the run being extended past October?