July 2012 reviews London

[Todd]

Wednesday, July 25, 2012

Billy - Harrison Dowzell
Michael - Reece Barrett
Debbie - Francesca Mango
Mrs. Wilkinson - Helen French
Dad - David Bardsley
Grandma - Gillian Elisa
All others were regulars

It was fun to be back in London for a Billy show for the first time since June, 2010. Many of the cast have changed since I last saw the show here. After having seen a video of Harrison performing "Angry Dance" recently, I was hoping I'd get to see him perform while I was in town. Needless to say, I was happy to see him come on stage in the opening number.

All I can say after seeing Harrison perform as Billy is that he plays the part with as much raw passion and honesty as about any other actor I've seen in this role. Being one of the younger-looking Billys, he exudes a sense of vulnerability and innocence moreso than some of the more "teenage" portrayals of Billy.

Several moments from this memorable show stand out to me:

- seeing Harrison perform "Angry Dance" live is worth the price of admission ! I hadn't felt myself getting too emotional up to that point, but seeing him leave it all out there on the stage with screams and real anger was something to behold. Where he draws that passion from at his age I don't know, but it was a superb piece of theater.

- As Harrison took a drink from the beer can to begin the Winter Scene, a back-stage technician came on stage and said they were going to have to stop the show for a bit to deal with a technological problem involving the moving scenery. After a brief delay, the show resumed.

- All appeared to be back on track after the show stoppage until the beginning of "Electricity" when Harrison prepared to take the strap of his bag off over his head and throw it to his dad. Unfortunately, the strap got tangled up around his head and took him awhile to peel it off before he finally threw the bag across the stage to get it out of the way . . and perhaps to let out some frustration. The rest of the routine went along flawlessly as he did his pirouettes and began to sing again. As he did, tears began to well up in his eyes and he broke into tears as the audience roared with approval. That's about when I began to get choked up, as I couldn't tell if he was getting emotional just from the sheer passion and effort he was putting into the number, or if he was frustrated by the tangle-up at the beginning.

A number of people began to rise to their feet and were giving him a standing ovation as he finished the number. A slip on the flip board caused him to land awkwardly, further adding to his emotion . . .and further adding to the audience ovation as they showed they were behind him regradless of the slip-ups . . .but mostly out of approval for the excellent job he had done. Trust me, although he's undoubtedly a perfectionist and was probably unhappy with parts of it, the audience loved the talent he displayed and the effort he put into it. It was one of those moments not soon to be forgotten, as the audience showed him they were behind him and supported him all the way. ( .. "don't worry lad, we'll never let you fall . . . ") Very cool.

The emotion from "Electricity" carried over into "The Letter Reprise" scene, and then the walk up the aisle. It almost felt like a "last show" as there was much more drama and emotion than I was expecting. It was clearly a show of support for Harrison, who's a bundle of talent and an extremely likable Billy.

As a special treat afterwards, about 25 to 30 kids from Harrison's dance school back home - along with a couple of teachers - were in the theater and Harrison greeted them afterwards down the street from the theater for conversation and pictures - along with a number of regular fans who saw him visiting with people on the sidewalk. All of them - especially his dance teachers - must be extremely proud of him after seeing his talent on display tonight. I can only wonder to what heights this young man will rise as he continues to gain experience performing in the show.

[dancingboy]

Excellent review, Todd. Unfortunately, I was unable to be at the VP yesterday, but having seen Harrison on a number of occasions I know just how it feels to be a part of his show. He has tremendous talent for one so young.

[Todd]

Thursday evening, July 26, 2012

Billy - Harris Beattie
Michael - Joe Massey
Dad - David Bardsley
Grandma - Gillian Elisa
Tony and Debbie (not sure, as I wasn't able to get a programme insert that told who was playing these roles)

Another fine and entertaining show tonight as I enjoyed seeing Harris perform for the first time. I was struck most of all by his accomplished dancing, as he looks to be first-rate in everything he did in the show - ballet, tap, etc. I didn't think it would be easy to come close to Harrison's "Angry Dance" from last night, but Harris' version was right up there with him. I wish I could see all 5 of the current London Billys to see if they all do as intense an Angry Dance as these two. If so, they must be on to something in how they get the Billys fired up for this number, as both of the Billys I've seen have been very high intensity with loud screams and genuinely angry movements and actions. Loved it again tonight !

After seeing the show last night in London for the first time in 2 years, I had decided that they must have made some changes in some of the scenes that I didn't know about. However, after seeing it tonight, I figured out that some of the things that were different about last night's show were due to mistakes or mechanical malfunctions, and not permanent changes that had been put into the show.

For example, last night after the confrontation scene between Dad and Tony, Harrison (as Billy) ran off stage rather than up the steps into his bedroom, which was nowhere to be seen. Mrs. Wilkinson then appeared at the doorway ready to greet Billy for their private lesson, but had to stand there and wait for a bit before Billy finally appeared through the doorway and sat down on the stage. Apparently that was part of the scenery malfunction that later caused the show to be stopped. He also didn't do the "Billy Elliot is queer" line, which I think must have just been an "oops" on Harrison's part. And during the "Finale," after Billy was lifted up on the chair and the curtain closed . . .that was the end of the show ! The curtain didn't go up again for Billy to do his flip and get a final round of applause with the rest of the cast. All of these scenes were restored to the show tonight, which made it look more like the way it's normally done.

Special recognition should go to Joe Massey as Michael, who lit up the stage with his outgoing personality and appears to be a natural ham. He also has a fine sense of timing on his lines and speaks them very distinctly, something that I didn't think went as well in last night's show with Reece. I always enjoy seeing David Bardsley as dad, as he has a very understated comic knack which drew a lot of laughs from tonight's audience. The actor playing Tony tonight (different from last night) was too shouty for my tastes, and seemed to add quite a few f-words where there usually arent' any which I thought was a bit excessive. He could dial down the anger a bit, in my opinion. I was hoping to see Ann Emery as Grandma either last night or tonight, but I thought Gillian Elisa did a very good job.

Having seen the show quite a few times in America since I was in London last time, I was glad to see some of the touches that are more true to the way the show was done originally, which I didn't realize that I missed. I know the differences between the "Angry Dance" in the U.S. and in London have been discussed quite a bit, but I found myself liking it better the way it's done in London after previously defending the way it's done in the U.S. In London, it does seem to be more "Billy's number" without so much competition from all the other commotion going on in the U.S. version. I did miss the film showing the riots on the riot shields with Margaret Thatcher's voice playing, which was used in the Broadway version. I also like the London ending of "Merry Christmas Maggie Thatcher" where the ballet girls sing "Oh my Darlin . . ." as the Michael Heseltine puppet is held up.

I'm not sure if I'll be able to make it to any other Billy shows while I'm here due to other commitments and some friends I'm hoping to see. If the other 3 Billys are anything like Harrison and Harris, then I very much regret missing out on seeing them. It would seem indeed that the London show is in very good hands with these talented youngsters in the lead role, as well as a number of the adult cast. Based on the large and enthusiastic crowds tonight and last night, I would hope that we'll be able to continue seeing this excellent show for quite a bit longer. I'm already looking forward to my next visit there !

[dancingboy]

For your information, Todd, Tony was played by Keiran Jae and Debbie by Dayna Dixon, last night. In my opinion, the quietest Angry Dance is performed by Kaine Ward, but both Adam Vesperman and Ryan Collinson's versions rival that of Harrison Dowzell's for passion and noise. All five boys, though, perform the number superbly.

[patc]

This is not a review of yesterday’s mega matinee show masterminded by Master Kaine Ward but an attempt at a fresh review of the show having been suddenly and unexpectedly hospitalised towards the end of April followed by the inevitable recovery period which meant an absence of eleven weeks. What would the show be like to see after such a long outage?

Now, having seen seven shows since, it is very evident that the cast have brought the show so much forward in that time in every aspect. They certainly don’t sit still in BETM. There is no complacency and everyone involved seems determined to make things even better and sharper.

I still found it impossible to become detached from this story, from these wonderful characters brought to life by the talents of those charged with the responsibility. After all these years I am as wrapped up in every scene as much as ever.

In some of the shows I saw there were as many as five alternates (“equalates” seems more appropriate) but these shows crackled and sparkled just the same. At the end you left the theatre just as much on a high as ever and already looking forward to next time. With so many combinations of both young and adult cast you never get the same show twice. There were no weak links and everything and everyone blended together to deliver the goods.

I hope the cast get Friday mornings and afternoons off. Watching the double last Thursday and seeing close-up the effort that goes into performing two shows in one day with barely time for even a sarnie in between they must get home in bits later on that night.

The new Ballet Girl teams have taken over where the others left off. It took a lot of skill for Les Dawson to deliberately play the piano badly and get so many laughs. The BG’s have to do for dancing what Les did for the piano and they do it so marvellously well. You’d need four pairs of eyes at least to manage to see all that’s going on in Shine. Of course, in the Finale they get an opportunity to really shine.

In the impish Joe, sunbeam Reece and outrageous Connor we have three completely different Michaels who can manipulate audiences as they please - not to mention the dancin’. The final curtain scene still gets to me every single time. This ending to the show is a stroke of genius.

The legendary Francesca along with her two new multi-talented co-Debbies, Macy and Dayna, give their all and are a joy to watch in action.

A mention here for Tall Boy/Posh Boy Ashley who seems to have been around forever and also qualifies as a BETM legend. Last week, on enquiry, he informed us that he has two and a half years under his belt. That must be a record.

As we all know the show stands or falls on the Billys. It has never, ever fallen and in Ryan, Adam, Kaine, Harris and Harrison we have five magnificent purveyors of Billyship. All are at different stages of their Billy careers but all are class in their own individual ways. Seeing them perform again it was perfectly obvious that they had been still working hard developing their styles. Sadly, I haven’t seen Ryan at all since my return but with his Billy performances already forever etched into memory all I have to do is close my eyes and recall it. Hopefully, I’ll be able to watch him live soon with eyes fully open.

When you look at the websites for some other West End shows you will often see that there are notices posted that such and such “star” will not be performing on certain dates or days. It’s almost like they are saying, “Don’t bother coming those days as the show will be a lesser effort”. That doesn’t apply in BETM. It doesn’t matter in the slightest which Billy you see. They are all brilliant and it has never been any other way.

Seeing all the big scenes again was sheer magic and very, very emotional. The powerful images of the likes of Solidarity, Angry Dance, Dream Ballet, He Could be a Star, Electricity and We Once Were Kings still leave a lasting impression. There is no way I’d ever get tired of the songs, the music and its delicious arrangements.

Going to any Billy show there always seems to be “extras” that enhance the experience around the Victoria area. You never know who you’ll run into. Thursday of last week, for example, some of us were on the pedestrian crossing opposite the theatre when a familiar figure rushed past in the opposite direction. It was none other than legendary Billy, Fox Jackson-Keen. Despite being in a rush he still had time to stop when he reached the other side, turn around and wave back beaming that immortal smile. Earlier on we had had the pleasure of meeting Small Boy Colby’s little pet dog aptly named Frodo.

Finally, I would like to thank everyone who phoned, sent cards, messages, texts, PM’s etc., during my illness. They were all very much appreciated and helped in no small way to speed up the recovery process.

Pat

[Westletonion]

Great to have you back Pat - and looking hale and hearty!

[ERinVA]

So glad to have you back with us on the forum, Pat! Thanks, as always, for your thoughts on the progress of the show.

[maria]

Yes indeed, welcome home to your other home, the VPT!

It is SO good to read your wonderful reviews once again!

maria

[porschesrule]

Here is what is perhaps better labelled an analysis of the show, rather than a review. The writer loved the show, but didn't even mention any of the actors or critique the dance or any of the things one normally expects to see in a review. Instead, she speaks of the "grittiness" of the show and the great portrayal of the politics of the times.

Her summary says it all:

"A musical? Perhaps, but this is much more than that. We tend to go to musicals to foot-tap our way home. But musicals have always slipped their dark sides of life. Take the Judd Fry scenes in Oklahoma. Cruel and dark with prejudice. Carousel is frightening in parts. Porgie and Bess? And Billy Elliot is so much more. This is hard-core theatre. The stage sets, dance routines, the humour, even the every other line of explosive expletives is spot on. Expletives, even for 11 year olds, were not part of the language, they were the language. You won’t be humming any songs as you leave and I’ll bet you can’t remember the words either. You don’t need to. Like the best musicals, Billy Elliot is more than a musical.

If you haven’t already seen it, go. If you have, then go again soon, I know I shall. Billy Elliot is one of the great London productions of this decade so far."

http://www.stirringtroubleinternational ... he-decade/

[dancingboy]

Saturday 28 July

Unusually for me I was able to attend both shows on Saturday. The 'alternates' David Bardsley, Gillian Elisa and Keiran Jae were on at both shows playing Dad, Grandma and Tony respectively and excellent performances they put in too.

At the matinee Billy was played by Kaine Ward. Kaine plays Billy in a rather quiet, subdued way and I particularly like his 'Little Boy Lost' take as Billy during the early scenes with the Ballet girls in 'Shine'. His facial expressions easily convey to the audience the fact that he has no idea what is going on. For the most part throughout the show Kaine shows vert little emotion or get too animated, but this does not detract from his performance.

There is no doubt that you have to admire Kaine's dancing, especially the ballet, with his high-kicking leg extensions during Born to Boogie and in Electricity well worth watching out for. After his ballet style Electricity Kaine received a standing ovation from many in the audience, not just the regulars who were in attendance. Kaine's ballet technique during this number was so good to watch.

I must also make mention of Senior Michael, Connor Kelly, for another hilarious performance, particularly in the 'Tutu' scene, which had the audience as well as Kaine in fits of laughter.

In contrast to Kaine at the matinee, Harrison Dowzell puts so much energy and emotion into his performance that he, and I suspect, many in the audience, are just as drained by the end of the show. Harrison, as I may have said previously, doesn't do half measures. Right from the off he is full of action, full of energy and full of noise. He does, however, have a very gentle singing voice, although he does vary this at times when singing in Electricity, in order to emphasise certain words to bring out their meaning as they relate to Billy and his acting ability shows a maturity beyond his twelve years. anyone who has yet to see Harrison's Angry Dance is certainly in for a noisy treat, for which Harrison shows so much power ( and swearing), but his dancing never falters.

There was a slight change to routine at the end of Harrison's hip-hop, street style Electricity, when he decided not to use the flip-board and finished the number in a more conventional way. In any event the audience loved every minute of it and Harrison was rewarded with a standing ovation from quite a few people in the audience. The overriding aspect of a Harrison performance is the energy and passion that he puts into it. It is quite unbelievable.

After the evening show it was also good to be able to talk briefly with both Kaine and Harrison, as their families were present and thanks go to them for allowing a couple of pictures to be taken.

All in all an excellent afternoon and evening's entertainment. Much better than staying at home to watch some obscure sport at the Olympic Games.