November 2013 Reviews - London

[patc]

Friday 15th and Saturday 16th November

15th: Bradley/Zak B/Demi
16th Matinee: Elliott/Zach A/Dayna
16th Evening: Redmand/Zak B/Demi

After all the drama and nostalgia of last weekend it was a return to normal this weekend although I think we know that nothing at Billy could be described as normal.

New Billy, Bradley, kicked the weekend off on Friday evening in only his second show. As with previous new Billys, Bradley very sensibly didn’t set out to push any limits at this very early stage of his Billy career. What he delivered was a thoroughly competent, grounded and solid performance and, I would hasten to add, with not a sign of a French accent. The Dialogue coach has done another brilliant job. Bradley’s version of the Letter I found very moving and I will not forget in a hurry the gentle, loving smile he gave when Dead Mum came in that softened hearts pretty quickly.
The most important thing for me was that I left the theatre full of all the same uplifting emotions that I always experience. It is going to be quite something to see Bradley develop his role as the weeks and months go by because we have a hugely talented new Billy on our hands.

Saturday’s Matinee was proof positive (as if we needed it) that, as those weeks and months go by, a new Billy’s progression can be mighty quick. Elliott turned in a fantastic best-ever performance sealed with a mighty Angry Dance (that had the audience applauding long after he had left the stage and the Ice Cream sellers were in position) and an absolutely stunning and magnificent ballet Electricity that was right out of the top drawer. I can tell you that this was just awesome stuff from a little bundle of dynamite. Like Friday evening I left the theatre up in the clouds again.

For the evening show we had Redmand. Need I say more? Scintillating, classy stuff that sends shivers down your spine in its perfectomundoness with that killer smile drawing everyone and everything down to the stage even from K39 in the Grand Circle.

Michaels Zak B and Zach A must have spotted early on that there were pretty well full houses at all three shows with everyone fully intent on having a great night out and joining in because both of them also went at it hammer and tongs with no holds barred. Brilliant and off the wall entertainment when fun in progress and the perfect poignancy where required. The three Boxing scenes were as funny as I’ve ever seen and really got the crowds buzzing early on.

Debbies, Demi and Dayna were in magnificent form and most likely also gave their best performances to date. Indeed the entire cast was on fire right through the weekend and everyone deserved the standing ovations they got.

There were close on a total of 4,500 people at the three weekend shows. They saw three fantastic shows led by three great Billys at different stages of their Billy careers and a cast that understands to their toenails the characters they are playing. The result was the same in all three, Magnifico.

Pat

[porschesrule]

A great review of the last three shows, as always, Pat. Thanks for taking the time to share your thoughts. They are always on the mark and thoroughly enjoyable to read.

[MsRF]

Thanks for your review, Pat, I always love reading them!

I just wanted to say I totally agree with regarding Elliott's new louder Angry Dance. I wonder if the current Billys were allowed to watch Harrison's final show (I know they're not usually encouraged to watch each other perform), because it definitely seems like he took some tips! Unfortunately, the audience I saw him with were very quiet given what they just seen - clapping for Angry Dance finished while he was still on the floor and he walked offstage to utter silence - a very awkward experience for him I'm sure!

I also agree that his ballet electricity is beautiful - it was always good - but I noticed last time I saw him that he seemed to have come on in leaps and bounds, especially the flips and ending turns after the final chorus.

[dancingboy]

Unfortunately, Pat was quicker off the draw than I was and so posted his review of the weekend before I had a chance!! So, I will simply make a couple of comments. There is no doubt that Zach and Zak are two nuggets who put so much into their performances and the shows on Saturday both got off to rousing starts because of their antics in the Boxing scene. This meant the audiences were uplifted right from the start and stayed that way right to the end.
I have not seen Elliott too many times, but on Saturday he turned in an excellent performance and was looking stronger than I had seen him previously.
As Pat said, what more is there to say about Redmand that has not been said before. His was a Masterclass in all aspects, but particularly in his acting. The many mannerisms he uses shows how much he is listening to what is being said, how much he understands all that is going on around him and his responses to Mrs Wilkinson, Dad and Tony are thus said with feeling and meaning. Plus, of course, Redmand is not a bad dancer either, as witnessed with his strong and accomplished ballet Electricity.

[Lightman7]

This past weekend was my first time seeing the show in the UK. I had seen it on Broadway and many times on the US tour, but this was ground zero. There are already good reviews of the weekend, so I will give my impressions as a Yank who just saw the close of the US tour in Sao Paulo.

I originally intended to see two shows, as I was meeting up with a friend who hadn't seen the show before and I didn't wan to push him beyond one show in case he didn't like it. However his flight was delayed, and he missed the Thursday night show. I, on the other hand, took advantage and saw both Thursday shows, I saw it again Friday (which was originally going to be my second show while my friend had dinner with another friend of his), and then we arranged things so we got back to London in time Saturday night to see the show again, since I couldn't bear to see him come this far and not see the show. So I got to see 4 shows!!!! (plus 1 other non-Billy show).

The differences between the UK and past two years of US shows hit me right off - Small Boy wasn't Cal, and he was really small! I thought he would go up the stage right steps, but he just climbed right up the center of the stage past the conductor. The US also eliminated the newsreel as time progressed during the run. The opening "Through the night" line was sung solo in the US (with the ensemble joining in bit by bit), and by everyone in the UK. Since I had seen the show on Broadway, I had seen the automated sets before, and it was nice to see them again, but having seen both versions of the US tour as the sets got further and further reduced, I can tell you that the story does not need any fancy sets - its impact is through the actors and choreography, not the sets. In short - I realized that there was going to be an ocean of small differences. And there were.

There were also many staging differences due to the difference in the stage layout. Stage right entrances not through the doors were done via an audience level entrance with the actors going up the steps to the stage, as well as Billy and Small Boy climbing up/down the front of the stage instead of using the stairs. The start of act two didn't have the boys coming down the aisle yelling "Dig deep for the miners", but had Tony onstage in an elf getup saying it. George had bit of schtick which was painfully punny, but didn't do the hat flip as in the US (where there was no schtick). The "I couldn't take it anymore son" scene was staged different - it was kept at the mine site, which makes more sense, but made for a more awkward transition with "take this and this". The US show had Dad coming back to the hall before singing,

I saw my first live "overbalance" in the Dream Ballet aerial maneuvers, but both Billy and Older Billy recovered with alacrity and aplomb.

OK, I know, enough of the differences. On the the cast. I knew there were substitutions and over the weekend I saw several different interpretations of the same role. I noticed especially that Grandma adapted to the individual Billy she was performing with. Even with the same cast member on different performances there was noticeable variation, which I loved. It was extremely interesting to ingest all the differences, and I know having some variation is critical in a role if you are performing it for a long time in order to keep things fresh. It may have been a cast I wan't accustomed to, but they were excellent. I really liked that Tony was a bit younger than the US had been casting, which made it more believable that they were brothers. He was outstanding in his role. The Debbies were a tad younger than the ones in the US, something I liked as I see a younger Debbie liking Billy more easily than an older one. I would not have known Simon Ray Harvey was a newer addition, he was great (and yes, younger than any other Mr. Braithwaite I had seen - but that didn't matter at all).

Thursday afternoon was Redmand, and I have to say I have never seen a Billy smile so much. Not inappropriately, but just a kid with a sunny disposition. Very different from what I have seen before, but a great take on the role. Thursday night was Ali, and although I prefer Ballet Billys, his electricity was absolutely amazing. Friday was Bradley in his second show, and as noted, no trace of an accent. He did great. There were a few timing issues, but for only his second show he shows potential to be a great Billy. Saturday night was Redmand again, and I was glad that my friend's first Billy was a ballet Billy. I was impressed again as Redmand's facial expressions were really expressive and relevant to the line preceding it throughout the show. I saw Zak and Freddie and Michael, and both were great. Since I didn't see Saturday afternoon, I haven't seen Elliott or Zack yet - thats just something I will have to come back to see!

Needles to say, it was an amazing weekend!

[porschesrule]

Thanks for your "Yank's" take on BETMUK, Lightman7. As I've often said in the past, I love to read the comparisons between various versions of the show and you mentioned quite a few -- some of which I hadn't previously heard.

One question though..

I would not have known Simon Ray Harvey was a newer addition

I'm not quite sure what you mean by that. Harvey has been in the role of Mr. Braithwaite for over two years which hardly qualifies him as being "new"

Overall a great review. Thanks for taking the time to share your English Billython!

[patc]

Thanks, Lightman7, for your most interesting comments on your first visit to the UK Billy. Pity you missed the Elliott matinee show .

In relation to the " differences" I'm a bit surprised that you didn't mention Angry Dance. I saw the show six times on Broadway and the standout difference for me was the way they had virtually destroyed Angry Dance there. I used to wonder what Trent Kowalik thought of it as he played the London show before opening Broadway.

BTW, in relation to Mr. B, on Saturday it was David Muscat who did both shows and he is excellent. I'm amazed at how light on their feet both he and Simon Ray are.

Pat

[angelenroute]

Just a couple of little responses/clarifications.

Stage right entrances not through the doors were done via an audience level entrance with the actors going up the steps to the stage, as well as Billy and Small Boy climbing up/down the front of the stage instead of using the stairs.

This was always the Broadway style as well, except for George, who entered through the door, blowing the whistle to call the boys in for boxing class, and maybe the head policeman too? Can't remember now.

George had bit of schtick which was painfully punny, but didn't do the hat flip as in the US (where there was no schtick).

The hat flip was always just Joel Blum's special talent on the Tour and wasn't in the Broadway show.

The "I couldn't take it anymore son" scene was staged different - it was kept at the mine site, which makes more sense, but made for a more awkward transition with "take this and this".

We've discussed this elsewhere before, but it's a very big decision to stage it differently for America. Either Jackie does or does not cross the picket line for real (by going back to work). Riding the Skylark to the pit is one thing, but actually going back to work another. I believe the original lyric is "I can't take it anymore, son" which could be seen as either present or past, whereas "couldn't infers he already went back to work.

Thanks for all the comparisons. My first show was in London in 2007, but I only remember bits and pieces now since I've only been able to see the show over here since then.

Sean

[patc]

Thursday 21st November – all day

Matinee: Redmand/Freddie/Millie

Evening: Elliott/Zach A/Dayna

Lightning HAS struck twice in 6 days as yesterday’s shows were a repeat of last Saturday’s offerings except that the running order was reversed.

This time, first up was Redmand at 2.30pm with yet another scintillating performance. Magnificent dancing and singing. Such was the quality of the acting that, if Mr. Spielberg or his ilk had been present, they’d have headed around to Nandos afterwards to write a new film highlighting Redmand’s thespianship. Well, maybe not Nandos.

Even though I’ve seen Redmand perform many times before it is always goosepimples time when he finishes off Electricity and it has been widely reported that yesterday the Spinnaker Tower in Portsmouth genuflected and the Isle of Wight rose ten foot out of the water in recognition.

New Michael, Freddie Butterfield, (st)rode onto the stage with purpose and gave the Thursday crowd their first glimpse of his prowess. Thankfully, with none of the self-deluding clap-happy morons present, he was given time and space to do his thing in all the poignant scenes and he did them beautifully A great dancer, too, with lots and lots of innovative variations (particularly in his bit o’ ballet, LOL) I look forward to seeing plenty more of his performances.

Elliott took over where he left off on Saturday and gave us another stunning Billy evening to remember with a brilliant Angry Dance to finish off Part One. The Red Mist, pounding feet, screams of anguish in front of the thundering batons all danced to the pulsating music beat was some spectacle. I’m sure that Elliott never lacked confidence but, using the experience he has gained over the past couple of months, he is really blossoming out and, as on Saturday, Electricity was the absolute highpoint. Breathtaking in its beauty, you couldn’t possibly count the number of spins he did from the back as he headed towards the front of stage for the song reprise (it was just a blur). Just when you thought he must stop he kept coming right to the point where any further and he’d have been standing on Chris Hatt’s head. And then the final triumphant flourish. The audience went wild. I think Elliott himself was taken aback. Sky News was reporting that the clocks on the famous Royal Liver Building in Liverpool both chimed 34 times at that precise moment.

I was delighted that, as with Redmand after the matinee, he got a great standing ovation when taking his bow.

Zach A was brilliant, bringing laughter and tears in abundance to a willing and appreciative audience. It is great to see that the different Michaels are allowed to be just that, different in their approach.

For some reason the accordion was absent altogether from Deep into the Ground at the matinee but, for the evening show, Simon Ray got it going beautifully and to absolute perfection with those distinct and plaintive chords. What a difference it makes to this song.

We are blessed in having three really outstanding Debbies at present. On this occasion it was Millie and Dayna’s turn to drive everyone crazy and they did precisely that with great stage presence to boot.

The Ballet Girls, as always, rose to the occasion in great style and, unless I am greatly mistaken, featured the “return of Tracey Atkinson”.

Oliver Breedon is an all-action new Tall Boy who gives the impression he’d love to be playing all the roles simultaneously. When he joined the Billy cast I wonder if he knew that even Bill Sykes didn’t dish out this sort of treatment to him!! Anyway, he survived manfully to fight another day.

I noticed some small but lovely music arrangement changes here and there (or else I haven’t been listening properly lately).

For Billy fans, seeing a rousing standing ovation for the entire fantastic cast and crew at the end of the show is a momentous sight. They all deserve nothing less for all the extremely hard work and dedication they put in week after week after week. I, for one am so grateful to be able to enjoy the experience and be uplifted in such a fashion on a regular basis. Having your emotions twisted and turned is intensely good for the soul and there is no better way to experience it. Thanks to EVERYONE at the VPT.

Pat

[kport]

Tuesday 27 November

Bradley/Zak Baker/Demi Lee/Deka Walmsley/Helen French/Ann Emery

'Twas a cold and windy November eve when I descended a bit too early on the venerable Victoria Palace Theatre, only to find the doors locked. So I ventured across the road to the warmth of Westminster Cathedral. As I entered I heard the opening 'Kyrie' of Britten's Miss Brevis in D, composed some 54 years ago for that very choir in that very building by a British composer whose centenary was celebrated only last week. And the thought entered my mind: had he been 30 years younger, he might have scored 'Billy Elliot the Opera'. It is just the sort of tale that he would have liked.

Last night's performance was simply breathtaking. I cannot find the words here to comment on Bradley's performance, so I will do that in a separate entry. But it was great to see Deka back in the role. He has the strength of voice and body to match the power of Kevin Wathen. Their wrestling bout looks like the real thing. Ann Emery was on cracking form - every time there is a new little twist, often placed there to suit the Billy du jour. Helen French, Simon Ray Harvey and the wonderful Howard Crossley rounded out a team that cannot be bettered.

I love Demi. She is just 'right' for the part of Debbie, and of course her native accent sounds just right, too. She shows a little pre-teen vulnerability that saves the role from becoming awkwardly 'teenager-like'. The way she and Bradley played the 'question' scene was different from anything I have seen before......it was asked in an almost innocent way, and Bradley paused for only a second, looked nonplussed, and smiled and said 'Nah'............just as it would happen in real life. Innocent. The audience loved it.

Zak can get the audience right behind him from the start. Again, he plays his role with a degree of innocence that disarms any preconceptions. He reminds me of Jacob Zelonky - that ability to engage the audience's emotions, whether at the close of 'Express' , or the audible gasp of approval in the 'Sindy the Doll' scene's 'revelation'. No one quite says 'Your dad is as pissed as a platypus' (including full twirl) like Zak!

The audience was small (60%) - it was a Tuesday night on a particularly cold, dark evening in November - so it took a while to warm itself up. It did so as the key player revealed his unbelievable talent - there is no doubt that Bradley Perret may be the best thing to invade Britain since William of Normandy................but more about him will be found in my review under his name.