December
2 - Bradley/Zach/Dayna/Max/Oliver
I thought I would catch one final show before jetting back to America in time to pay the bills that will be no doubt awaiting my return...
Two months and eight show - despite trying to plan these things, I was not able to see Elliot - he will have to wait until another time. But I had a chance to say goodbye to Harrison, see Ali and Redmand several times, and catch the newest star from France, Bradley. Plus some fantastic new Michaels, Tall and Small Boys, and ballet girls. Everything seemed new and fresh.
Last night saw Bradley deliver another knock out performance, this time with Zach. Hilarity abounded in Expressing Yourself, and both boys have worked out a few personal touches that were not seen last week when Zak was on (Zak had his own brilliant ones). The first act exploded, ending with a fiery Angry Dance; but the second act seemed just a little more subdued. Very good, but a little less sparky than a very sparky first act. However, the audience was great, buoyed up by a large contingent of school kids occupying much of the Grand Circle. The cast received a much deserved standing ovation at the conclusion.
I have made a few conclusions from my stint sitting in Row B for eight shows -
-the music score has been altered (or the instrumentation filled out) to create a richer, more intricate accompaniment in several big numbers. I noticed this especially when Chris Hatt was at the helm. Very welcome.
-the Ballet girls, whichever group is on, are always on form and fantastic.
-the adult principles and their alternates are uniformly brilliant. When an unfamiliar face is seen playing a major role, I was never left feeling disappointment not to see a regular, but pleasure in seeing a professional doing his or her on thing in a familiar role. That goes for everyone.
-finally (and this is just my view) I think that there has been a sea-change in the acting. By that I mean that everyone seems to have been told to make the role theirs, and take some liberty with it to really bring out their portrayal of the character. Absent is any sense of 'product uniformity'; everyone seems much more involved in their role and you can sense it in their timing, their facial expressions and their sheer enjoyment in acting. This has especially been the case in the past four weeks or so, and for those who are regular fans it ads spice to a great musical. I wonder if this is down to the new director? If so, he has my applause.
Without question BETM continues to go from strength to strength, even in the dull cold days of early winter; the audiences love it. Yesterday's Evening Standard carried a full page ad announcing the '12 Days of Christmas' promotion, and still declaring BETM to be 'The Best West End Show'. I have to agree. While the VPT manfully stands amongst the rubble of Boris Johnson's apocalyptic vision of a modern London, it continues to delight thousands every week.
December 2013 Reviews - London
Re: November 2013 Reviews - London
If I may share another 'review' of the special magic of this musical, three weeks ago a local comprehensive school from my town, with which I have some minor connection, sent three coach loads of pupils to take part in afternoon sessions (music, dance and drama) organised by some of the creative team at the VPT at a local studio, followed by the evening performance. The comments from the kids ever since have been ecstatic; they cannot stop talking about how much they enjoyed the experience; how great the actors are; how uplifting is the story. So there is clear evidence that its ability to move, entertain and educate extends beyond this Forum, into schools and homes and colleges and even to those who come from abroad to see it: there is clearly a very powerful message that this story imparts which touches hearts.
December 2013 Reviews - London
Thursday Matinee 5th December
Redmand/Zak B/Demi
Absolute chaos at Victoria today, that is, the railway station. The worst part was the total lack of real information, the subsequent misinformation, contradictory misinformation and repetitive announcement after repetitive announcement of trains cancelled or delayed “spoken” by the most monotonous computerised voice I’ve ever heard that droned on and on with the same stuff over and over again. I’ll be hearing it in my sleep tonight. Passengers were doing their heads in. I believe it was the same at most mainline stations.
However, over at the VPT, the cool, calm, classy Redmand was demonstrating his multitude of talents in a display of Billyship that defies description. Even if you were to put together all the previous reviews of his shows into one large encyclopedia it wouldn’t cover everything adequately. Brilliant.
Zak B’s Michael was the perfect foil for Redmand including an all-action Expressing. He loves to let the hair down and has a wonderful off-the-wall bit o’ ballet ending in a painful-looking splits, great timing for the Nutcracker and all the poignancy for the tender moments.
Demi lived up to her already well-established reputation as one of the current trio of super-Debbies.
One of the things about BETM is discovering something you hadn’t spotted before.
During the final kitchen scene when the news comes of the strike being over I tend to just watch Tony’s passionate, heartfelt speech to Billy about the miners’ futures. Today my eyes wandered over to the right where Big Davey (Alan Mehdizadeh) was sat listening. This tall and sturdy miner was sitting there in shock, as you would be having heard this kind of news, but it was Alan’s distraught facial expression that captured to a tee the despair of that moment. It brought a tear to my eye. Only a short moment but a memorable one.
I’m off to sleep now and will put that droning railway station voice out of my head and recall Once We Were Kings instead.
Pat
Redmand/Zak B/Demi
Absolute chaos at Victoria today, that is, the railway station. The worst part was the total lack of real information, the subsequent misinformation, contradictory misinformation and repetitive announcement after repetitive announcement of trains cancelled or delayed “spoken” by the most monotonous computerised voice I’ve ever heard that droned on and on with the same stuff over and over again. I’ll be hearing it in my sleep tonight. Passengers were doing their heads in. I believe it was the same at most mainline stations.
However, over at the VPT, the cool, calm, classy Redmand was demonstrating his multitude of talents in a display of Billyship that defies description. Even if you were to put together all the previous reviews of his shows into one large encyclopedia it wouldn’t cover everything adequately. Brilliant.
Zak B’s Michael was the perfect foil for Redmand including an all-action Expressing. He loves to let the hair down and has a wonderful off-the-wall bit o’ ballet ending in a painful-looking splits, great timing for the Nutcracker and all the poignancy for the tender moments.
Demi lived up to her already well-established reputation as one of the current trio of super-Debbies.
One of the things about BETM is discovering something you hadn’t spotted before.
During the final kitchen scene when the news comes of the strike being over I tend to just watch Tony’s passionate, heartfelt speech to Billy about the miners’ futures. Today my eyes wandered over to the right where Big Davey (Alan Mehdizadeh) was sat listening. This tall and sturdy miner was sitting there in shock, as you would be having heard this kind of news, but it was Alan’s distraught facial expression that captured to a tee the despair of that moment. It brought a tear to my eye. Only a short moment but a memorable one.
I’m off to sleep now and will put that droning railway station voice out of my head and recall Once We Were Kings instead.
Pat
Re: December 2013 Reviews - London
Great observation, Pat. I have noticed in recent weeks more and more of these poignant moments. I really think the actors are being given free reign to develop their role. Every performance will be different and exciting as a result.Today my eyes wandered over to the right where Big Davey (Alan Mehdizadeh) was sat listening. This tall and sturdy miner was sitting there in shock, as you would be having heard this kind of news, but it was Alan’s distraught facial expression that captured to a tee the despair of that moment. It brought a tear to my eye. Only a short moment but a memorable one.
These are very capable actors - just look at the interaction between Kevin Wathen and Deka Walmsley. Brilliant. Allowing them scope to develop their character without usurping others' roles is what keeps a bell-weather West End play fresh. Identikit uniformity makes it no better than a Disney product.
Re: December 2013 Reviews - London
"LONDON TOWN 5er"
I know it's familiar to you, but nothing speaks the truth for me more than "It's a feeling that you can't control," as I had looked forward for some months now to my arrival last Thursday in the "Kingdom," allowing me the ultimate pleasure of spending a full weekend in Billy Elliot's personal "Palace." All that pent up anticipation was gloriously fulfilled by another adventurous journey with him and Michael, which in essence meant my being spiritually elevated to another level by this musical's magic moments and implicit messages.
Holding my breath for a couple weeks prior to my overnight flight from Chicago was a necessity simply hoping that I would be unscathed by weather disruptions due to uncompromising Northern Indiana and Chicago lake effect snows. Absolute timing had to be of prime importance, as such a scenario would have meant sacrificing tickets to Thursday's "double header."
Well, would you believe it! The weather was no obstacle at all, but my plane never got out of its slip due to mechanical problems thus causing a 3hr delay. Once that got resolved, I proceed over land and sea...only to be stalled by a sudden breakdown on the Piccadilly Line. So, it was without a wink of sleep for 24 hrs [simply can't sleep in flight] that just prior to the matinee, I commenced an achingly poignant and unparallelled weekend of 5 performances with Billy and the cherished cast of "BETM."
Was the "Company" spectacular, and did they deliver performances of effortless power and vibrant color? I will only say, "with magnificence!" Without the utterance of another word, allow me to profoundly express gratitude to Billy and the entire cast for another enriching BETM experience. By showing up at the doors of the VP with only an hour to spare, I began another return to the "birth place" of my initial exposure to this musical which had occurred some seven years ago. Fact is, this is my third "London rerun." As I've indicated in past reviews, Billy Elliot the Musical is a vicarious experience for me which penetrates the very core of my being and history. Relating in so many ways to its main characters and the underlying messages they deliver, it seems I'd go to the ends of the earth to rekindle the effects received from the very first time I saw the stage production at the Victoria Palace.
"NO PRESUMPTIONS, BUT..."
Speaking for some of us in North America who may have discovered some kind of intimate connection to this musical, you can imagine the trauma of sorts we suffered when the show was taken from our reach. The five performances I saw this past weekend in London were thrilling beyond my ability to define. Each show rekindles memories of youth as experienced through the expressive eyes, emotions and voices of Billy and Micheal. For this guy, all I can say is the London Billy's and Micheal's and the cast, delivered a show so uniquely refreshing in its presentation, it was a "shock to the system," particularly in recalling the International Tour to which I had become so familiar. As accustomed to dozens of those shows in a dozen or more cities over the past few years, viewing the London production seemed like a time warp, as I felt as though I were seeing the show for the very first time. This past weekend was an enthralling adventure I shall not soon forget. I was able to return to Chicago as emotionally spent as I remember being after that first performance at the VP so long ago.
"WHAT WAS IT [He] LIKE, LIKE..."
There are untold number of fascinating and nuanced difference in the two productions, really, too numerous to mention. That which immediately comes to mind, however, is the difference in the technical aspects of the two productions obviously because one was a traveling company, the other maintaining a permanent home. One whose staging is powered through its hydraulically computerized system, the other mostly accomplished by the subtle manpower of the cast strategically threaded into their blocking and movement. Some of the others: The opening newsreel which I had missed from those earlier years. It was a quick educational tool for so many in the audience who didn't know that the show was all about; some twist and turns during the "Christmas Party;" the same with "He Could be a Star." Most notably, the real humor of Billy and the tape during his "Audition" scene. And, by the way, "The Language!" WOW!!! It was as raw and more prolific than anything I can remember. At last! and kudos to the Brits! Finally, real authenticity! I felt as though I belonged to the mining community.
Regardless, whatever difference there were from the two productions, it is the enormous artistry of our protagonists and their supporting casts which ultimately carries the day. From "sea to shining sea," and no matter which side of the ocean you were on, BETM easily reaches the highest level of artistic value for which we could hope in making this such a penetrating experience for us.
"LIKE BEACONS IN THE NIGHT..."
The idyllic presence of Redmand, Elliott and Bradley and the magnetic force they exerted was the catalyst which continues to set ablaze my own emotional epiphany. Ali was passed over this past weekend's rotation of the five shows I saw, and that was a disappointment. [And lo and behold, having missed by a couple days one of my favorite All-American Billies, Mitchell Tobin, who is suppose to be making his British debut tonight...UGH!!!]. On the other hand, seeing Redmand and Elliott twice each during my stay, has to have been a joyous dividend I never expected. It was quite enough to be awed by the heart and soul of the above threesome, as they delivered an opportunity for a transformational presence for anyone in the audience; that is, "transformational" if one would willingly allow themselves to go there. By indications of the audience's robust responses, I believe many of them did. Along with the "iconic triad" of Micheals, they all presented nothing less than "staggering performances" of depth and joyful tapestry. Their ability to lift the energy of an audience was nothing short of quaking. It's the exact energy which so successfully draws one into their story and which can inspire a personal connection with it, notwithstanding, capable of capturing one's imagination as they negotiate a perpetual search for their own levels of acceptance.
"WITNESSED..."
I can say I saw it with my own eyes...and that was the destruction of the Victoria Palace which only contributed to the chaos of excavation and construction surrounding this storied theater. That destruction was by what I personally felt was a "world class performance" by Redmand Rance. Redmand comes across as the quintessential noble Billy providing one of those jarring performances which can shock the senses. I thought I had seen them all given my extensive experience with this musical, but this youngster literally blew the walls and roof off the place. It was a perfectly paced acting and dancing performance, one of such clarity and strength, and so stunning in its entirety, it made my hair stand on end.
I watched this youngster display such an engaging charisma his emotional temperature in reacting to everything and everyone on stage would win over anyone who had doubts as to whether or not you were witnessing a classical pro of enormous depth and polish. I can't remember a Billy in my experience, who by using his radiant eyes and broad smile at the conclusion of "Electricity," scanned the audience from right to left acknowledging the appreciation we were showing and looking for the last ounce of approval we may have had in our arsenal. And boy, did he receive it, for what seemed like eternity.
When he was on stage he gave you the impression he alone could change the weather outside. No doubt his natural mannerisms and those ever beaming eyes and facial expressions could light up the darkest of nights and still the most ailing of hearts and minds. The two performances in which I saw him were shattering performances, typifying the example of which I believe everyone would hope from our Billies.
"DO YOU REMEMBER THE YEAR...?"
Even given his extraordinary youthfulness for a role of this magnitude, Elliott Hanna presented himself heroically, displaying a disarming vulnerability and charm as a stalwart Billy that well might catch you off guard. At times his on stage style could display a sense of depth and confidence a gunfighter might show strutting into Dodge City not quite sure as to what he was getting into. Don't miss understand me. Before long, you knew he was going to declare the City as his own.
I mean, my god, the youngster is only 10yrs old. 10 YEARS!!! Was that the age I struggled so desperately hard learning that 2x2=4? Elliott came across as elf-like, so impish, yet displaying a cheeky childish demeanor, such that one has to marvel at how beautifully he masquerades it all in the role of Billy. All I can say is, Bless his heart! He brought tears to my eyes. Even as I write this, I can't believe what I saw from him.
Despite the fact Bradley has been experiencing the throws of initial performances as Billy, he filled me with elation having provided a Billy of cool confidence and sparkle for which only an aspiring and budding star could hope. I had been prepped as to what to expect from him, and I left the theater convinced that he was well on his way to championing another winner in the role. Ah...those "Frenchmen!!!"
"GROUP THINK...!
Not at all to be short changed, I was totally captivated and taken in by Zak, Zach, Freddie. They all are terrific Michael's. As it was, Zak performed three out of the five shows I saw, and it was quite easy to measure his high energy interpretation. Nonetheless, they all were perfect in nurturing the hauntingly emotional sensitivity necessary in navigating the difficult corners of a role which requires a cultivation of an intimate relationship with his best friend.
These six guys demonstrated a stage command which was nothing less than searingly hot and which I felt set the Victoria Palace on fire with glittering emotion. Sitting as close to the stage as I was for each performance, they came across as theatrical knockouts singing, acting, and dancing their way into our hearts...and for some of us, into our very lives. Billy's swirling undercurrents of frustration and anger culminated beautifully with each of them offering a tidal wave of emotion as they presented their "Angry Dances." Those undercurrents served as perfect setups for the contrasts witnessed in their sensually enthralling "Electricities." Again, it's those robust reflections on the power of dance which allows us to measure the full capacity of their grace and their remarkable athletic/artistic prowess. They filled every song and dancing number with a brilliance of life and color to which I had become accustomed no matter where or how many times I've seen BETM. It's the reason why I think I return over and over again, relishing the anticipation of the enormous youthful talent we've come to know so well and the depth of emotion they inspire from each of us. That equilibrium, while rising above the chaos and occasional indignities of life around them, becomes a fortuitous lesson, even as they draw us into those struggles while ultimately carrying us to their victorious conclusion at the Royal Ballet of London. From my vantage point what a trip they provided for us...one upon which I'm still riding.
Will I find these same Billies and Micheal's delivering the magic inherent in this musical come the Anniversary in May? I know my return at that time will either find these guys or a manifestation of their extraordinary example who will continue to motivate us to a level of exuberance we've come to know so well. With the addition of Mitchell Tobin today, who won the hearts and minds of all of us when he was with the International Tour...how's that for pure excitement knowing he may still be there at that time?
All I can say is, I can't wait...!
Respectfully submitted,
Colin W. Stetson
Culver, IN
I know it's familiar to you, but nothing speaks the truth for me more than "It's a feeling that you can't control," as I had looked forward for some months now to my arrival last Thursday in the "Kingdom," allowing me the ultimate pleasure of spending a full weekend in Billy Elliot's personal "Palace." All that pent up anticipation was gloriously fulfilled by another adventurous journey with him and Michael, which in essence meant my being spiritually elevated to another level by this musical's magic moments and implicit messages.
Holding my breath for a couple weeks prior to my overnight flight from Chicago was a necessity simply hoping that I would be unscathed by weather disruptions due to uncompromising Northern Indiana and Chicago lake effect snows. Absolute timing had to be of prime importance, as such a scenario would have meant sacrificing tickets to Thursday's "double header."
Well, would you believe it! The weather was no obstacle at all, but my plane never got out of its slip due to mechanical problems thus causing a 3hr delay. Once that got resolved, I proceed over land and sea...only to be stalled by a sudden breakdown on the Piccadilly Line. So, it was without a wink of sleep for 24 hrs [simply can't sleep in flight] that just prior to the matinee, I commenced an achingly poignant and unparallelled weekend of 5 performances with Billy and the cherished cast of "BETM."
Was the "Company" spectacular, and did they deliver performances of effortless power and vibrant color? I will only say, "with magnificence!" Without the utterance of another word, allow me to profoundly express gratitude to Billy and the entire cast for another enriching BETM experience. By showing up at the doors of the VP with only an hour to spare, I began another return to the "birth place" of my initial exposure to this musical which had occurred some seven years ago. Fact is, this is my third "London rerun." As I've indicated in past reviews, Billy Elliot the Musical is a vicarious experience for me which penetrates the very core of my being and history. Relating in so many ways to its main characters and the underlying messages they deliver, it seems I'd go to the ends of the earth to rekindle the effects received from the very first time I saw the stage production at the Victoria Palace.
"NO PRESUMPTIONS, BUT..."
Speaking for some of us in North America who may have discovered some kind of intimate connection to this musical, you can imagine the trauma of sorts we suffered when the show was taken from our reach. The five performances I saw this past weekend in London were thrilling beyond my ability to define. Each show rekindles memories of youth as experienced through the expressive eyes, emotions and voices of Billy and Micheal. For this guy, all I can say is the London Billy's and Micheal's and the cast, delivered a show so uniquely refreshing in its presentation, it was a "shock to the system," particularly in recalling the International Tour to which I had become so familiar. As accustomed to dozens of those shows in a dozen or more cities over the past few years, viewing the London production seemed like a time warp, as I felt as though I were seeing the show for the very first time. This past weekend was an enthralling adventure I shall not soon forget. I was able to return to Chicago as emotionally spent as I remember being after that first performance at the VP so long ago.
"WHAT WAS IT [He] LIKE, LIKE..."
There are untold number of fascinating and nuanced difference in the two productions, really, too numerous to mention. That which immediately comes to mind, however, is the difference in the technical aspects of the two productions obviously because one was a traveling company, the other maintaining a permanent home. One whose staging is powered through its hydraulically computerized system, the other mostly accomplished by the subtle manpower of the cast strategically threaded into their blocking and movement. Some of the others: The opening newsreel which I had missed from those earlier years. It was a quick educational tool for so many in the audience who didn't know that the show was all about; some twist and turns during the "Christmas Party;" the same with "He Could be a Star." Most notably, the real humor of Billy and the tape during his "Audition" scene. And, by the way, "The Language!" WOW!!! It was as raw and more prolific than anything I can remember. At last! and kudos to the Brits! Finally, real authenticity! I felt as though I belonged to the mining community.
Regardless, whatever difference there were from the two productions, it is the enormous artistry of our protagonists and their supporting casts which ultimately carries the day. From "sea to shining sea," and no matter which side of the ocean you were on, BETM easily reaches the highest level of artistic value for which we could hope in making this such a penetrating experience for us.
"LIKE BEACONS IN THE NIGHT..."
The idyllic presence of Redmand, Elliott and Bradley and the magnetic force they exerted was the catalyst which continues to set ablaze my own emotional epiphany. Ali was passed over this past weekend's rotation of the five shows I saw, and that was a disappointment. [And lo and behold, having missed by a couple days one of my favorite All-American Billies, Mitchell Tobin, who is suppose to be making his British debut tonight...UGH!!!]. On the other hand, seeing Redmand and Elliott twice each during my stay, has to have been a joyous dividend I never expected. It was quite enough to be awed by the heart and soul of the above threesome, as they delivered an opportunity for a transformational presence for anyone in the audience; that is, "transformational" if one would willingly allow themselves to go there. By indications of the audience's robust responses, I believe many of them did. Along with the "iconic triad" of Micheals, they all presented nothing less than "staggering performances" of depth and joyful tapestry. Their ability to lift the energy of an audience was nothing short of quaking. It's the exact energy which so successfully draws one into their story and which can inspire a personal connection with it, notwithstanding, capable of capturing one's imagination as they negotiate a perpetual search for their own levels of acceptance.
"WITNESSED..."
I can say I saw it with my own eyes...and that was the destruction of the Victoria Palace which only contributed to the chaos of excavation and construction surrounding this storied theater. That destruction was by what I personally felt was a "world class performance" by Redmand Rance. Redmand comes across as the quintessential noble Billy providing one of those jarring performances which can shock the senses. I thought I had seen them all given my extensive experience with this musical, but this youngster literally blew the walls and roof off the place. It was a perfectly paced acting and dancing performance, one of such clarity and strength, and so stunning in its entirety, it made my hair stand on end.
I watched this youngster display such an engaging charisma his emotional temperature in reacting to everything and everyone on stage would win over anyone who had doubts as to whether or not you were witnessing a classical pro of enormous depth and polish. I can't remember a Billy in my experience, who by using his radiant eyes and broad smile at the conclusion of "Electricity," scanned the audience from right to left acknowledging the appreciation we were showing and looking for the last ounce of approval we may have had in our arsenal. And boy, did he receive it, for what seemed like eternity.
When he was on stage he gave you the impression he alone could change the weather outside. No doubt his natural mannerisms and those ever beaming eyes and facial expressions could light up the darkest of nights and still the most ailing of hearts and minds. The two performances in which I saw him were shattering performances, typifying the example of which I believe everyone would hope from our Billies.
"DO YOU REMEMBER THE YEAR...?"
Even given his extraordinary youthfulness for a role of this magnitude, Elliott Hanna presented himself heroically, displaying a disarming vulnerability and charm as a stalwart Billy that well might catch you off guard. At times his on stage style could display a sense of depth and confidence a gunfighter might show strutting into Dodge City not quite sure as to what he was getting into. Don't miss understand me. Before long, you knew he was going to declare the City as his own.
I mean, my god, the youngster is only 10yrs old. 10 YEARS!!! Was that the age I struggled so desperately hard learning that 2x2=4? Elliott came across as elf-like, so impish, yet displaying a cheeky childish demeanor, such that one has to marvel at how beautifully he masquerades it all in the role of Billy. All I can say is, Bless his heart! He brought tears to my eyes. Even as I write this, I can't believe what I saw from him.
Despite the fact Bradley has been experiencing the throws of initial performances as Billy, he filled me with elation having provided a Billy of cool confidence and sparkle for which only an aspiring and budding star could hope. I had been prepped as to what to expect from him, and I left the theater convinced that he was well on his way to championing another winner in the role. Ah...those "Frenchmen!!!"
"GROUP THINK...!
Not at all to be short changed, I was totally captivated and taken in by Zak, Zach, Freddie. They all are terrific Michael's. As it was, Zak performed three out of the five shows I saw, and it was quite easy to measure his high energy interpretation. Nonetheless, they all were perfect in nurturing the hauntingly emotional sensitivity necessary in navigating the difficult corners of a role which requires a cultivation of an intimate relationship with his best friend.
These six guys demonstrated a stage command which was nothing less than searingly hot and which I felt set the Victoria Palace on fire with glittering emotion. Sitting as close to the stage as I was for each performance, they came across as theatrical knockouts singing, acting, and dancing their way into our hearts...and for some of us, into our very lives. Billy's swirling undercurrents of frustration and anger culminated beautifully with each of them offering a tidal wave of emotion as they presented their "Angry Dances." Those undercurrents served as perfect setups for the contrasts witnessed in their sensually enthralling "Electricities." Again, it's those robust reflections on the power of dance which allows us to measure the full capacity of their grace and their remarkable athletic/artistic prowess. They filled every song and dancing number with a brilliance of life and color to which I had become accustomed no matter where or how many times I've seen BETM. It's the reason why I think I return over and over again, relishing the anticipation of the enormous youthful talent we've come to know so well and the depth of emotion they inspire from each of us. That equilibrium, while rising above the chaos and occasional indignities of life around them, becomes a fortuitous lesson, even as they draw us into those struggles while ultimately carrying us to their victorious conclusion at the Royal Ballet of London. From my vantage point what a trip they provided for us...one upon which I'm still riding.
Will I find these same Billies and Micheal's delivering the magic inherent in this musical come the Anniversary in May? I know my return at that time will either find these guys or a manifestation of their extraordinary example who will continue to motivate us to a level of exuberance we've come to know so well. With the addition of Mitchell Tobin today, who won the hearts and minds of all of us when he was with the International Tour...how's that for pure excitement knowing he may still be there at that time?
All I can say is, I can't wait...!
Respectfully submitted,
Colin W. Stetson
Culver, IN
Re: December 2013 Reviews - London
Thank you, Colin, for a wonderful review.
Those of us who cannot be there see it so clearly through your words.
Those of us who cannot be there see it so clearly through your words.
Re: December 2013 Reviews - London
Mon 9th Dec
Billy - Mitchell Tobin
Michael - Zak
Debbie - Demi
I was lucky enough to be at the VP tonight for Mitchell's London debut. All that needs to be written in a review for Mitchell is that I can see why the VP snapped him up after the US tour! But I love a ramble.
There were no nerves at all tonight, he beamed his way through the majority of the show. He is a phenomenal actor, singer and dancer, with some very unique touches to his acting. He was the first Billy I've seen to cry real tears through both of the letter scenes - in the goodbye letter he sobbed his way through his last few lines. And the way he admits to Michael that he 'did some ballet' was so vulnerable. His accent is pretty good too, all things considered. One thing I never thought of was that the pace different accents are spoken at must mean you have to breathe slightly differently - Mitchell seemed to get his breath in between many lines, but maybe that was due to the concentration needed to say his lines and nail the accent at the same time!
He is an excellent Ballet Billy too - I don't think I've ever seen that many spins during the end of Solidarity, I was worried he was going so fast he might fall over! His Electricity was stunning, again with some unique moves I haven't seen before, including a one handed forward cartwheel off the chairs.
His skipping in Born to Boogie was also flawless - he was so confident he kept looking around at Mrs Wilkinson and Mr Braithwaite and smiling at them. He is another Billy who does a flip off the piano at the end of the song.
He was an excellent pairing with Zak - during the boxing scene, when Billy has his freestyle moment, Mitchell was so into it that he actually bumped into Zak twice, and Zak couldn't stop himself from laughing out loud. By the end of it, Mitchell's mic was actually hanging off his forehead, resulting in a nice loud bang when Zac KO'd him.
I hope Mitchell is around a long time to come - he is so good already I can't possibly see how he can improve, but we've seen from the likes of the current Billys, Elliott in particular, how quickly they come on and how they constantly keep topping their previous performances. I can't wait to see what he's like in six months' time.
Congrats on your London debut tonight Mitchell, you did yourself and everyone at the VP proud.
PS. I think we've found a Billy who will ALWAYS beat Michael at changing shoes - this kid's shoe changes throughout the show were phenomenally fast, just like his pirouettes!
Billy - Mitchell Tobin
Michael - Zak
Debbie - Demi
I was lucky enough to be at the VP tonight for Mitchell's London debut. All that needs to be written in a review for Mitchell is that I can see why the VP snapped him up after the US tour! But I love a ramble.
There were no nerves at all tonight, he beamed his way through the majority of the show. He is a phenomenal actor, singer and dancer, with some very unique touches to his acting. He was the first Billy I've seen to cry real tears through both of the letter scenes - in the goodbye letter he sobbed his way through his last few lines. And the way he admits to Michael that he 'did some ballet' was so vulnerable. His accent is pretty good too, all things considered. One thing I never thought of was that the pace different accents are spoken at must mean you have to breathe slightly differently - Mitchell seemed to get his breath in between many lines, but maybe that was due to the concentration needed to say his lines and nail the accent at the same time!
He is an excellent Ballet Billy too - I don't think I've ever seen that many spins during the end of Solidarity, I was worried he was going so fast he might fall over! His Electricity was stunning, again with some unique moves I haven't seen before, including a one handed forward cartwheel off the chairs.
His skipping in Born to Boogie was also flawless - he was so confident he kept looking around at Mrs Wilkinson and Mr Braithwaite and smiling at them. He is another Billy who does a flip off the piano at the end of the song.
He was an excellent pairing with Zak - during the boxing scene, when Billy has his freestyle moment, Mitchell was so into it that he actually bumped into Zak twice, and Zak couldn't stop himself from laughing out loud. By the end of it, Mitchell's mic was actually hanging off his forehead, resulting in a nice loud bang when Zac KO'd him.
I hope Mitchell is around a long time to come - he is so good already I can't possibly see how he can improve, but we've seen from the likes of the current Billys, Elliott in particular, how quickly they come on and how they constantly keep topping their previous performances. I can't wait to see what he's like in six months' time.
Congrats on your London debut tonight Mitchell, you did yourself and everyone at the VP proud.
PS. I think we've found a Billy who will ALWAYS beat Michael at changing shoes - this kid's shoe changes throughout the show were phenomenally fast, just like his pirouettes!
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ERinVA
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Re: December 2013 Reviews - London
Thanks for your review of Mitchell's London debut, MsRF. Those of us who saw Mitchell on the tour had no doubt it would be a great one, and your review confirms it. 
Ellen
"I don't want people who want to dance; I want people who have to dance.”
-George Balanchine 1904 -1983
To follow the forum's Twitter at http://twitter.com/BEForum, click on the direct link in Applies to All Forums above.
"I don't want people who want to dance; I want people who have to dance.”
-George Balanchine 1904 -1983
To follow the forum's Twitter at http://twitter.com/BEForum, click on the direct link in Applies to All Forums above.
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porschesrule
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Re: December 2013 Reviews - London
My thanks also to Colin and Rachel for their reviews today. I'm so happy to read that Mitchell's London debut was so well received. Way to go Mitchell! Here's to a long, successful run as Billy in London with the hope that you thoroughly enjoy your adventure so far from home.
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dancingboy
- Billy
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Re: December 2013 Reviews - London
I do not have too much to add to the comments already made by Rachel concerning Mitchell's debut performance on Monday evening, well, his London debut performance, anyway. It was clear he wasn't a novice, but as London debuts go, this was something special. I would have to select two items for special mention and they would be some terrific tap in Angry Dance and a very strong Electricity, some moves, I thought, were very reminiscent of those we saw from Tade. All in all this was a debut performance that Mitchell can be proud of. I have no doubt he will wow London audiences for some time to come.