4th January
Billy – Redmand
Michael – Zak
Debbie – Demi
My 6th time seeing the show and it has to be my favourite. Redmand is a superb Billy, who's acting, in my opinion, is amazing!
It was my birthday on the 3rd of January so my mum contacted the Theatre Manager, Kylie Shaw, to see if anything special could be done for my birthday. After the show we went to the stage door to collect a signed programme for me, which was filled with many lovely birthday messages from member's of the cast. I could never have asked for a better Birthday present, thank you so, so much to all the cast who signed it for me.
I will try to get up some photos of the programme.
January 2014 Reviews - London
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pollybillyelliot
- Small Boy
- Posts: 33
- Joined: Fri Jul 13, 2012 8:52 pm
- Location: East Sussex
Re: January 2014 Reviews - London
Saturday January 4th Evening
Billy - Ali
Michael - Freddie
Debbie - Millie
Last night was Ali's final performance as Billy after about 8 months in the role. The atmosphere was good, but I did think it fell short of Harrison's last night, although Ali had not been in the role as long, and his leaving was not announced so early in advance. However, his friends and family and some of the forum regulars were there to cheer him on.
He turned in a stonking good performance, a very controlled Solidarity and beaming Expressing with the hilarious Freddie. As far as I'm aware, he also didn't miss any of the steps during the skipping in Born to Boogie - a fine way to end his Billy career, and he got a few loud 'wows' from the people sitting behind me when he flipped from the piano at the end.
His Angry Dance was also the best I've ever seen from him, full of rage and his tapping was louder than ever! One thing he did, which I've never seen a Billy do before, was remain completely still and silent after Deka's "Your mam's dead!" and only starting to scream once he was alone onstage. It gave the audience a good five seconds to contemplate that his dreams were coming crashing down before the music began and I thought it was incredibly effective.
The second half was very emotional - normally I don't cry during a Billy show (although Mitchell's Letter did bring me close!), but Ali received such a long round of applause after his stunning Electricity, and more and more people kept standing up to give him an ovation, that he looked over at Deka and pretty much started to cry, which set me off. From that point on, he seemed to have lost his composure of steel and there were a few choked up lines and tears during his goodbye to Mrs Wilkinson (and not just from Ali!) and during Once We Were Kings, his shoulders were clearly shaking. During his goodbye to Mrs Wilkinson, before Debbie is sent offstage, Millie was standing looking at him as Debbie usually does, but she looked as if she had either been crying or was on the verge of tears. She certainly looked less composed than normal as she crossed the stage towards him prior to being dismissed.
As Ali climbed back onstage to say goodbye to Michael, he gave Freddie a kiss and then just stood looking at him for a long few seconds. It looked like a very tender moment, and his voice broke as he said goodbye to Michael and went up the aisle. Freddie also looked quite upset - given it was his first show performed on a Billy's last night, it must have been extra-emotional for him. I do think though, as I know happened a few times in the US shows, that the boys should be able to say goodbye to each other using their real names. I suppose they may not want to do it that way, but I think it adds a finality and tenderness that even first-timers to the show would not begrudge.
All in all, I hope Ali enjoyed his final performance to the full and the party in his honour afterwards! He has been a fantastic Billy and I'm sure he will go on to do great things in the future. It was great, being from Newcastle myself, to be able to sit and hear a truly genuine accent and see some very genuine mannerisms.
One other thing that I noticed yesterday - but that was not to do with Ali's final show - was that the female policewoman who lines up at the beginning of Solidarity made her way into the other Solidarity dances with the miners, due to there being two of the usual cast absent. She did cope very well but it did lead to some moments where I had to giggle - including the vaguely terrified look in her eyes as her hat fell off during the ballet sequence and she had to join in the big group pirouette. However, I have sympathy for her - if you don't train to be in that role very often, I imagine it must be a pretty daunting prospect! It was just another of those moments that makes seeing Billy Elliot repeatedly so rewarding.
Billy - Ali
Michael - Freddie
Debbie - Millie
Last night was Ali's final performance as Billy after about 8 months in the role. The atmosphere was good, but I did think it fell short of Harrison's last night, although Ali had not been in the role as long, and his leaving was not announced so early in advance. However, his friends and family and some of the forum regulars were there to cheer him on.
He turned in a stonking good performance, a very controlled Solidarity and beaming Expressing with the hilarious Freddie. As far as I'm aware, he also didn't miss any of the steps during the skipping in Born to Boogie - a fine way to end his Billy career, and he got a few loud 'wows' from the people sitting behind me when he flipped from the piano at the end.
His Angry Dance was also the best I've ever seen from him, full of rage and his tapping was louder than ever! One thing he did, which I've never seen a Billy do before, was remain completely still and silent after Deka's "Your mam's dead!" and only starting to scream once he was alone onstage. It gave the audience a good five seconds to contemplate that his dreams were coming crashing down before the music began and I thought it was incredibly effective.
The second half was very emotional - normally I don't cry during a Billy show (although Mitchell's Letter did bring me close!), but Ali received such a long round of applause after his stunning Electricity, and more and more people kept standing up to give him an ovation, that he looked over at Deka and pretty much started to cry, which set me off. From that point on, he seemed to have lost his composure of steel and there were a few choked up lines and tears during his goodbye to Mrs Wilkinson (and not just from Ali!) and during Once We Were Kings, his shoulders were clearly shaking. During his goodbye to Mrs Wilkinson, before Debbie is sent offstage, Millie was standing looking at him as Debbie usually does, but she looked as if she had either been crying or was on the verge of tears. She certainly looked less composed than normal as she crossed the stage towards him prior to being dismissed.
As Ali climbed back onstage to say goodbye to Michael, he gave Freddie a kiss and then just stood looking at him for a long few seconds. It looked like a very tender moment, and his voice broke as he said goodbye to Michael and went up the aisle. Freddie also looked quite upset - given it was his first show performed on a Billy's last night, it must have been extra-emotional for him. I do think though, as I know happened a few times in the US shows, that the boys should be able to say goodbye to each other using their real names. I suppose they may not want to do it that way, but I think it adds a finality and tenderness that even first-timers to the show would not begrudge.
All in all, I hope Ali enjoyed his final performance to the full and the party in his honour afterwards! He has been a fantastic Billy and I'm sure he will go on to do great things in the future. It was great, being from Newcastle myself, to be able to sit and hear a truly genuine accent and see some very genuine mannerisms.
One other thing that I noticed yesterday - but that was not to do with Ali's final show - was that the female policewoman who lines up at the beginning of Solidarity made her way into the other Solidarity dances with the miners, due to there being two of the usual cast absent. She did cope very well but it did lead to some moments where I had to giggle - including the vaguely terrified look in her eyes as her hat fell off during the ballet sequence and she had to join in the big group pirouette. However, I have sympathy for her - if you don't train to be in that role very often, I imagine it must be a pretty daunting prospect! It was just another of those moments that makes seeing Billy Elliot repeatedly so rewarding.
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angelenroute
- Billy
- Posts: 3831
- Joined: Thu Mar 19, 2009 1:05 am
- Location: Malverne (Long Island), NY
Re: January 2014 Reviews - London
In North American shows, it was much rarer for them not to use their real names. I'm very sad to hear this is less common there, as it packs an extra HUGE emotional punch on a last night!MsRF wrote:I do think though, as I know happened a few times in the US shows, that the boys should be able to say goodbye to each other using their real names. I suppose they may not want to do it that way, but I think it adds a finality and tenderness that even first-timers to the show would not begrudge.
Thank you for your review. It's clear he had a very, very, very special final performance in the role! Wonderful!
Sean
Re: January 2014 Reviews - London
I don't know whether this is an individual actor's choice or not, it might be harder for them to use their own names if they are feeling emotional? It has been done in London in the past: I first heard it on Ryan Longbottom's last night as Michael (he was the final original child to leave) when Ollie Taylor, said "See you, Ryan" and he replied "Yeah, see you Ollie". I'm not sure what other occasions this has been used - I know that on Trent's last show "Oi, Dancing Boy" became "Oi, Broadway Boy".
When handing over the miner's light, Chris Lennon, as Tony, often changed his "See ya, sunshine" line for a final performance. He certainly told Colin Bates to "Have a good life, sunshine" and said to another Billy (Matt Koon, I think) "We'll miss you, sunshine".
I like this little touches.
When handing over the miner's light, Chris Lennon, as Tony, often changed his "See ya, sunshine" line for a final performance. He certainly told Colin Bates to "Have a good life, sunshine" and said to another Billy (Matt Koon, I think) "We'll miss you, sunshine".
I like this little touches.
"In everything you do, always be yourself"
Re: January 2014 Reviews - London
Saturday Evening 4th January
Ali’s last show.
In these islands we’ve all taken a rollicking from Mother Nature these past few weeks. She has taken her toll at the VPT, too. Despite all my visits to the show I have not seen Ali perform for almost two and a half months so it was quite a surprise when he strode onto the stage for the final time last night looking six inches taller. But what a mature performance. I have no hesitation in saying that this was not only Ali’s greatest but also one of the greatest Billy performances it has been my privilege to see. Unbelievable angry Angry Dance, stunning, energetic Street Electricity, fantastic, powerful acting. It was also one of the most emotional particularly towards the end. Watching the final scenes and Ali’s climb off the stage from so close-up in Row B was almost too much to bear and Freddie’s final goodbye enhanced the poignancy of the moment. I can only imagine what Ali’s lovely family on the other side of the theatre must have been feeling at that moment.
This for me was the last in a four-show 2014 kickstart mini-Billython (of which more anon in a separate review). As Rachel says, it was not your typical last night with hysterical screaming and cheering at every opportunity but, in a more dignified environment, it allowed Ali to deliver his masterpiece with no distractions and with superb pacing. And those wonderful eyes!!! He could have done the whole show without saying a word. They said it all every time and, in the Toilet scene, he used them to magnificent hilarious effect when Debbie made her offer. I’m still laughing.
It has been a great honour to have been around to see Ali as Billy and, as he heads off into Billy Folklore, I thank him for all those three hour spectaculars and wish him all that is best for the future. His undoubted multi-talents will see him through. Mother Nature, I hope you are listening.
Pat
Ali’s last show.
In these islands we’ve all taken a rollicking from Mother Nature these past few weeks. She has taken her toll at the VPT, too. Despite all my visits to the show I have not seen Ali perform for almost two and a half months so it was quite a surprise when he strode onto the stage for the final time last night looking six inches taller. But what a mature performance. I have no hesitation in saying that this was not only Ali’s greatest but also one of the greatest Billy performances it has been my privilege to see. Unbelievable angry Angry Dance, stunning, energetic Street Electricity, fantastic, powerful acting. It was also one of the most emotional particularly towards the end. Watching the final scenes and Ali’s climb off the stage from so close-up in Row B was almost too much to bear and Freddie’s final goodbye enhanced the poignancy of the moment. I can only imagine what Ali’s lovely family on the other side of the theatre must have been feeling at that moment.
This for me was the last in a four-show 2014 kickstart mini-Billython (of which more anon in a separate review). As Rachel says, it was not your typical last night with hysterical screaming and cheering at every opportunity but, in a more dignified environment, it allowed Ali to deliver his masterpiece with no distractions and with superb pacing. And those wonderful eyes!!! He could have done the whole show without saying a word. They said it all every time and, in the Toilet scene, he used them to magnificent hilarious effect when Debbie made her offer. I’m still laughing.
It has been a great honour to have been around to see Ali as Billy and, as he heads off into Billy Folklore, I thank him for all those three hour spectaculars and wish him all that is best for the future. His undoubted multi-talents will see him through. Mother Nature, I hope you are listening.
Pat
Re: January 2014 Reviews - London
Friday 3rd Jan to Saturday 4th Jan
A great way to kickstart 2014 for a few Forum-ites with a mini Billython.
Apart from Ali’s last night, reviewed above, there was plenty more.
The first thing to say is that, despite the heavy Christmas and New Year schedule and two shows a day on Thursday, Friday and Saturday, the Cast and Ensemble of BETM are just MAGNIFICENT. Not a trace of weariness in sight they are putting on shows full of consistent energy, passion and dedication. Everyone seems to be enjoying their roles so much no matter which ones they’re playing. What is more there is more and more going on every week. You blink and you miss something. You blink again and you miss something new, maybe even small, but every little thing that they can come up with is being included and it goes on. The already gorgeous music score and orchestrations have been further enhanced. Again, maybe, just little things but little things mean a lot.
Deka and Kevin have once again lifted their scenes from their already lofty heights to new levels of intensity. The pit scene as father and eldest son’s verbal disagreement turns physical is now almost traumatising to watch. Deka’s animated, growing, obvious pride and delight (and disbelief) as he watches Billy dance Electricity is so emotional. “This is my son, don’t you dare tell me what to do with him” has irreversibly changed into, “Look everyone, this is MY son”. We, the audience, are helplessly roped in. The added ingredient that, while the Billy in the fictional story is realising a dream, we are also watching a real boy achieve HIS at the same time, raises the level of emotion to another platform. The feel-good factor has a major rating at this point.
With Kevin’s Tony we never have any doubt but that, despite his gruffness at times, he loves his little dancing brother. The relationship is real and plain to see. At the end he has to deal with humiliating defeat in the strike, the delight in Billy’s success but also the sad parting of the ways - all at the same time. We are getting an acting masterclass here and, combined with the defeat on the faces of the Miners as they wearily go back down the mines, produces a most telling and painful scene that conveys to audiences what it must have been really like regardless of whose side you were on. These are all scenes that have always deeply moved me and never more than as they are being presented now.
The pre-Angry Dance Kitchen scene takes off in angry mode and then explodes into a tour-de-force when inspirationally-casted Anna-Jane pops in to say hello. Mindbending stuff that, subsequently, lights up the red mist around Billy and sets him off. If you can manage to take your eyes off the Principles here, just have a glance at the other Miners in the kitchen and their reactions. When Anna-Jane is not on we have Helen to look forward to as Mrs. W. Are we spoiled or what?
The versatility of the Ensemble is unbelievable. Some have long settled into the minor characters yet can switch when required so to do. The variety is amazingly good value. There were a few absentees in all four shows (I have never before seen only 11 police lined up for Solidarity but they all pulled together brilliantly).
Over the four shows we saw the three Older Billys absolutely nail thrilling, spectacular, smooth and highly emotional Dream Ballets that had the audience cheering and applauding for long periods before the scene was even finished.
Ann and Gillian are sensational as Grandmas.
Simon Ray Harvey and David Muscat are both fantastic Mr. Braithwaites. David actually did all four shows I saw this week and also played the accordion beautifully in Deep into the Ground. We are completely spoiled here.
Howard’s portrayal of George is perfection personified and keeps everybody laughing to balance out the other side. He, too, has brought such as the Boxing scene to new levels of entertainment but watch him in the more emotional scenes as well.
Although we have sadly had to say goodbye to Ali we still have four magnificent Billys, all different in their approach. It doesn’t matter who is on. The final result is the same.
Elliott is rapidly climbing new rungs in the ladder to the stars as each week passes by. For such a little fella in stature he can do mighty things. He got our Billython off to a great start in Friday’s matinee.
The evening show provided a second opportunity to see Mitchell. Having done his time in the US he, too, is now well and truly moving up the London ladder. Afterwards everyone was talking about the Letter. There were tears rolling down his face. There were tears rolling down mine as well and again in the Letter reprise.
Redmand, Saturday matinee and the most experienced of the London Billys, has already headed off into outer space and approaching another Universe. His class, poise and balance is such that I’m willing to bet that he could walk a tightrope across the Grand Canyon with his hands behind his back. With everyone waiting on the other side he’d arrive as cool as a cucumber with THAT smile beaming.
Zak B and Freddie, with Millie and Demi did all the great Michael and Debbie work in the four shows. We missed out on Bradley, Zach A and Dayna on this occasion but there will be other times to see these equally talented youngsters on stage again. We are thoroughly spoiled for choice here, too.
For me, there is nothing in the entertainment business, TV, theatre, films that comes even close to Billy Elliot The Musical. But it is more than that. On Saturday I met a former security man from the Victoria Palace. He is now studying for a degree in the provision of Counselling Services. I suggested to him that, when he qualifies, BETM be placed high in the category of remedies. It spells out hope and inspiration in large capital letters. It should, in fact, be on the National Health. I wasn’t joking. The feel-good factor after seeing this show says it all. A whole new year beckons and I am excitedly looking forward to every visit to that beacon of light that stands in the midst of the otherwise current bleakness of Victoria Street, SW1E 5EA.
On New Year’s eve I raised a glass (the usual Volvic with a touch of Strawberry) to the cast and creative of this magnificent show, this amazing rollercoaster of emotional experiences. Thanks and a Happy New Year. When the fans from abroad arrive in London in May for the usual celebrations they are going to be blown completely away. I can’t wait to see it happen
.
Pat
A great way to kickstart 2014 for a few Forum-ites with a mini Billython.
Apart from Ali’s last night, reviewed above, there was plenty more.
The first thing to say is that, despite the heavy Christmas and New Year schedule and two shows a day on Thursday, Friday and Saturday, the Cast and Ensemble of BETM are just MAGNIFICENT. Not a trace of weariness in sight they are putting on shows full of consistent energy, passion and dedication. Everyone seems to be enjoying their roles so much no matter which ones they’re playing. What is more there is more and more going on every week. You blink and you miss something. You blink again and you miss something new, maybe even small, but every little thing that they can come up with is being included and it goes on. The already gorgeous music score and orchestrations have been further enhanced. Again, maybe, just little things but little things mean a lot.
Deka and Kevin have once again lifted their scenes from their already lofty heights to new levels of intensity. The pit scene as father and eldest son’s verbal disagreement turns physical is now almost traumatising to watch. Deka’s animated, growing, obvious pride and delight (and disbelief) as he watches Billy dance Electricity is so emotional. “This is my son, don’t you dare tell me what to do with him” has irreversibly changed into, “Look everyone, this is MY son”. We, the audience, are helplessly roped in. The added ingredient that, while the Billy in the fictional story is realising a dream, we are also watching a real boy achieve HIS at the same time, raises the level of emotion to another platform. The feel-good factor has a major rating at this point.
With Kevin’s Tony we never have any doubt but that, despite his gruffness at times, he loves his little dancing brother. The relationship is real and plain to see. At the end he has to deal with humiliating defeat in the strike, the delight in Billy’s success but also the sad parting of the ways - all at the same time. We are getting an acting masterclass here and, combined with the defeat on the faces of the Miners as they wearily go back down the mines, produces a most telling and painful scene that conveys to audiences what it must have been really like regardless of whose side you were on. These are all scenes that have always deeply moved me and never more than as they are being presented now.
The pre-Angry Dance Kitchen scene takes off in angry mode and then explodes into a tour-de-force when inspirationally-casted Anna-Jane pops in to say hello. Mindbending stuff that, subsequently, lights up the red mist around Billy and sets him off. If you can manage to take your eyes off the Principles here, just have a glance at the other Miners in the kitchen and their reactions. When Anna-Jane is not on we have Helen to look forward to as Mrs. W. Are we spoiled or what?
The versatility of the Ensemble is unbelievable. Some have long settled into the minor characters yet can switch when required so to do. The variety is amazingly good value. There were a few absentees in all four shows (I have never before seen only 11 police lined up for Solidarity but they all pulled together brilliantly).
Over the four shows we saw the three Older Billys absolutely nail thrilling, spectacular, smooth and highly emotional Dream Ballets that had the audience cheering and applauding for long periods before the scene was even finished.
Ann and Gillian are sensational as Grandmas.
Simon Ray Harvey and David Muscat are both fantastic Mr. Braithwaites. David actually did all four shows I saw this week and also played the accordion beautifully in Deep into the Ground. We are completely spoiled here.
Howard’s portrayal of George is perfection personified and keeps everybody laughing to balance out the other side. He, too, has brought such as the Boxing scene to new levels of entertainment but watch him in the more emotional scenes as well.
Although we have sadly had to say goodbye to Ali we still have four magnificent Billys, all different in their approach. It doesn’t matter who is on. The final result is the same.
Elliott is rapidly climbing new rungs in the ladder to the stars as each week passes by. For such a little fella in stature he can do mighty things. He got our Billython off to a great start in Friday’s matinee.
The evening show provided a second opportunity to see Mitchell. Having done his time in the US he, too, is now well and truly moving up the London ladder. Afterwards everyone was talking about the Letter. There were tears rolling down his face. There were tears rolling down mine as well and again in the Letter reprise.
Redmand, Saturday matinee and the most experienced of the London Billys, has already headed off into outer space and approaching another Universe. His class, poise and balance is such that I’m willing to bet that he could walk a tightrope across the Grand Canyon with his hands behind his back. With everyone waiting on the other side he’d arrive as cool as a cucumber with THAT smile beaming.
Zak B and Freddie, with Millie and Demi did all the great Michael and Debbie work in the four shows. We missed out on Bradley, Zach A and Dayna on this occasion but there will be other times to see these equally talented youngsters on stage again. We are thoroughly spoiled for choice here, too.
For me, there is nothing in the entertainment business, TV, theatre, films that comes even close to Billy Elliot The Musical. But it is more than that. On Saturday I met a former security man from the Victoria Palace. He is now studying for a degree in the provision of Counselling Services. I suggested to him that, when he qualifies, BETM be placed high in the category of remedies. It spells out hope and inspiration in large capital letters. It should, in fact, be on the National Health. I wasn’t joking. The feel-good factor after seeing this show says it all. A whole new year beckons and I am excitedly looking forward to every visit to that beacon of light that stands in the midst of the otherwise current bleakness of Victoria Street, SW1E 5EA.
On New Year’s eve I raised a glass (the usual Volvic with a touch of Strawberry) to the cast and creative of this magnificent show, this amazing rollercoaster of emotional experiences. Thanks and a Happy New Year. When the fans from abroad arrive in London in May for the usual celebrations they are going to be blown completely away. I can’t wait to see it happen
. Pat
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Barry Appleby
- George
- Posts: 583
- Joined: Sat Jan 16, 2010 9:52 pm
Re: January 2014 Reviews - London
Cheers!! and a big "Thanks" again Pat & Msrf for your reviews, they are so really appreciated, we need some cheering up here, after the poor weather we have had in G.B and the terrible snow and icey conditions for you, guys and gals in the States.
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Westletonion
- Miner
- Posts: 414
- Joined: Mon Mar 23, 2009 10:46 am
- Location: Suffolk Coast
Re: January 2014 Reviews - London
Yes thanks very much for the reviews. It is incredible how the cast can keep such energy going when you think of the very punishing schedule over the whole Christmas and New Year period. Sorry not to have seen Ali's last show but am very grateful for the reviews and it was good that there was such support for him considering the short lead up time period. His family must be very justifiably proud of his achievements and I am sure he will have a very bright future ahead of him.
Re: January 2014 Reviews - London
Saturday January 4th
Ali
Freddie
Millie
A few further thoughts on this important Show.
The theatre was close to capacity as has been the case all over the Christmas period. This is a tribute to the Company as BETM approaches its ninth anniversary. It has seen off many other West End musicals including some from the Lloyd Webber stable. Doubtless the mega box office receipts will generate bonuses all round!
The evening began with Richard Pollard, the Resident Director taking the stage. He spoke briefly about Ali Rasul being the 33rd Billy and the first to have come from the North East of England where the story is set. He began his training in August 2012 and made his debut in May of 2013. It was pleasing to see that the RD’s arrival on stage was greeted with applause. The audience was less raucous than on some Last Nights and this enabled the cast to preserve continuity of the story without too many interruptions. I am increasingly fascinated by the character of Small Boy. He starts the show off of course, and for me he illustrates the journey that Billy Elliot undertakes. A small part maybe, but a highly significant one. Rosencrantz /Guildenstern in a modern setting maybe? This Small Boy and others in the current cast contribute to the story with animated acting and singing. They deserve our applause since the part involves so much hard work. This must be tiring for a six year old.
Ann Emery is the only original cast member, having left the show and subsequently returned. She was amazing on Saturday bringing a freshness to Grandma’s footwork, singing and hand gestures that belied her years in the part. It was noticeable that she stayed on for the party at the end of the night.
This was Ali’s night of course. I had not seen him perform for at least two months and was surprised at how much taller he had become. From my seat in Row A I could see how determined he was to maintain concentration despite the emotion he was feeling. His dancing was immaculate with clean movements of legs, arms and hands. Moreover he held his ‘position’ in the dance class without a trace of a wobble. Although a ‘street' Billy, Ali has real talent in ballet and his leg lifts and pirouettes were a delight. Of course emotion swept into the letter scenes. In fact all the cast Mrs W and Dad in particular, became emotional at various points as they were saying goodbye to a member of their family. The audience shared these feelings and many tears were shed. Electricity proved a high point of Ali’s night. Encouraged by shouts of encouragement from the audience he stormed through his routine and after the flip stood for ages to acknowledge his standing ovation. Only then did his arms shake as emotion engulfed him.
Ali has brought so much to the part of Billy Elliot and I am sure the Show has learnt a lot from him.
Bon voyage and……………………………. allez Ali.
Ali
Freddie
Millie
A few further thoughts on this important Show.
The theatre was close to capacity as has been the case all over the Christmas period. This is a tribute to the Company as BETM approaches its ninth anniversary. It has seen off many other West End musicals including some from the Lloyd Webber stable. Doubtless the mega box office receipts will generate bonuses all round!
The evening began with Richard Pollard, the Resident Director taking the stage. He spoke briefly about Ali Rasul being the 33rd Billy and the first to have come from the North East of England where the story is set. He began his training in August 2012 and made his debut in May of 2013. It was pleasing to see that the RD’s arrival on stage was greeted with applause.
The audience was less raucous than on some Last Nights and this enabled the cast to preserve continuity of the story without too many interruptions. I am increasingly fascinated by the character of Small Boy. He starts the show off of course, and for me he illustrates the journey that Billy Elliot undertakes. A small part maybe, but a highly significant one. Rosencrantz /Guildenstern in a modern setting maybe? This Small Boy and others in the current cast contribute to the story with animated acting and singing. They deserve our applause since the part involves so much hard work. This must be tiring for a six year old.Ann Emery is the only original cast member, having left the show and subsequently returned. She was amazing on Saturday bringing a freshness to Grandma’s footwork, singing and hand gestures that belied her years in the part. It was noticeable that she stayed on for the party at the end of the night.
This was Ali’s night of course. I had not seen him perform for at least two months and was surprised at how much taller he had become. From my seat in Row A I could see how determined he was to maintain concentration despite the emotion he was feeling. His dancing was immaculate with clean movements of legs, arms and hands. Moreover he held his ‘position’ in the dance class without a trace of a wobble. Although a ‘street' Billy, Ali has real talent in ballet and his leg lifts and pirouettes were a delight. Of course emotion swept into the letter scenes. In fact all the cast Mrs W and Dad in particular, became emotional at various points as they were saying goodbye to a member of their family. The audience shared these feelings and many tears were shed. Electricity proved a high point of Ali’s night. Encouraged by shouts of encouragement from the audience he stormed through his routine and after the flip stood for ages to acknowledge his standing ovation. Only then did his arms shake as emotion engulfed him.
Ali has brought so much to the part of Billy Elliot and I am sure the Show has learnt a lot from him.
Bon voyage and……………………………. allez Ali.
'Are we human or are we dancers?' The Killers
Finish
Finish
Re: January 2014 Reviews - London
Thursday Matinee 9th January
Jumping Jehosaphat. Another exciting, fantastic show at the matinee today full of fire, passion, energy and conviction by this top o’ the range cast. It seems to me that the new Resident Director has taken what is already a progressive, magnificent, scintillating show and imbued it with even greater passion and style and has woven some extra patterns into this uniquely English quilt.
After last week’s mini-thon I wrote, “we missed out on Bradley, Zach A and Dayna on this occasion but there will be other times to see these equally talented youngsters on stage again”. Ye gads, who did we get today? Bradley, Zach A and Dayna and not a minute too soon. Bradley must have been working very hard in rehearsals because he has most certainly shot up the ladder to a new level of excellence and with shedloads of confidence to boot. It was his task to carry the weight of this mighty show on his small but sturdy shoulders and he did so with such style, elegance and passion not to mention slick dancing skills, great acting and singing. It was all there. The main dances were superbly performed.
The Letters these days are all tearjerkers as are the Reprises. I wonder if Kleenex have become show sponsors and are insisting on tears-on-demand. If so, they are being well rewarded. You’d think that having seen the show so often that you’d get used to it. Nah, gets me every time. You can say the same about the goodbye to Mrs. W scene. Anna-Jane’s working of this scene is incredibly moving.
It was Lee Hoy’s turn to dance a beautiful Dream Ballet with Bradley and they left Mattie Bourne, OBE, green with envy in so doing.
Zach A didn’t need any Mac 500’s in Expressing. He lit up the stage himself with his own particular Michael interpretation. He was just the very man to cheer Billy up after his humiliation at the Ballet class and he left no stone unturned entertaining us as well. It was a laugh a second all done with such a sense of fun and a happy smile all the way through. Earlier on in the Boxing scene I had thoroughly enjoyed his mimicking of poor George followed by his famous “axx scratch” and cheeky smile, LOL. The timing of the scratch needs to be spot on and he always gets it right.
Dayna is a bundle of non-stop energy but always has a cheeky knowing smile to go with it. Her stomping around and across the stage must be costing a fortune in footwear not to mention floorboard repairs but I’m sure the Company can live with that as audiences quite obviously love it.
Some other brief comments:
Matthew Dale stood in for Kevin as Tony and did a terrific job.
Charlotte Riby has made the role of The RBS receptionist her very own. The two scenes may be short but they are both hilarious. A brilliant caricature.
The Ensemble seemed to be back to full strength with 13 cops in Solidarity.
The Ballet girls, as always, were wonderful. The group that was on today looked to be a bit younger but they lacked nothing in skill or passion and looked to be enjoying every second they were on stage. Their shocked reactions to Billy’s, eh, “description” of his Dad at the ballet class are very well performed and their silent presence at the sides during Once We were Kings adds to the poignancy.
There is one thing, though, that I would love to have clarified. Are we still supposed to clapalong in Merry Christmas, Maggie Thatcher? Ever since I started seeing the show the encouragement to clap was never in doubt with cast members on their feet getting and keeping things going. People at the front of the Stalls would start and others would follow. It was loud and clear and certainly very much a part of the show. Now, I’m not sure. One or two cast members do a (very) small bit of enticement to clap and those of us who know the show join in at first but, with no real encouragement, nobody else does so it is slightly embarrassing to keep clapping and we stop. Of course, it has no bearing on the enjoyment of the show whether we clap or not. It’s just a minor thing but it would be good to know what the position is for the future. I’m certain, though, that, if audience participation is desired, it won’t happen without major encouragement because audiences generally are just too shy to become involved.
Getting back to the matinee I can safely say that, as always, thanks to the brilliant cast young and old, as the curtain slowly descended on Zach’s soulful expression, all my emotions had been tossed into a blender, stirred, shaken and then ultimately smoothed over with a large helping of feel-good – leaving a big yen for more of the same asap.
Go raibh míle maith agaibh.
Pat
Jumping Jehosaphat. Another exciting, fantastic show at the matinee today full of fire, passion, energy and conviction by this top o’ the range cast. It seems to me that the new Resident Director has taken what is already a progressive, magnificent, scintillating show and imbued it with even greater passion and style and has woven some extra patterns into this uniquely English quilt.
After last week’s mini-thon I wrote, “we missed out on Bradley, Zach A and Dayna on this occasion but there will be other times to see these equally talented youngsters on stage again”. Ye gads, who did we get today? Bradley, Zach A and Dayna and not a minute too soon. Bradley must have been working very hard in rehearsals because he has most certainly shot up the ladder to a new level of excellence and with shedloads of confidence to boot. It was his task to carry the weight of this mighty show on his small but sturdy shoulders and he did so with such style, elegance and passion not to mention slick dancing skills, great acting and singing. It was all there. The main dances were superbly performed.
The Letters these days are all tearjerkers as are the Reprises. I wonder if Kleenex have become show sponsors and are insisting on tears-on-demand. If so, they are being well rewarded. You’d think that having seen the show so often that you’d get used to it. Nah, gets me every time. You can say the same about the goodbye to Mrs. W scene. Anna-Jane’s working of this scene is incredibly moving.
It was Lee Hoy’s turn to dance a beautiful Dream Ballet with Bradley and they left Mattie Bourne, OBE, green with envy in so doing.
Zach A didn’t need any Mac 500’s in Expressing. He lit up the stage himself with his own particular Michael interpretation. He was just the very man to cheer Billy up after his humiliation at the Ballet class and he left no stone unturned entertaining us as well. It was a laugh a second all done with such a sense of fun and a happy smile all the way through. Earlier on in the Boxing scene I had thoroughly enjoyed his mimicking of poor George followed by his famous “axx scratch” and cheeky smile, LOL. The timing of the scratch needs to be spot on and he always gets it right.
Dayna is a bundle of non-stop energy but always has a cheeky knowing smile to go with it. Her stomping around and across the stage must be costing a fortune in footwear not to mention floorboard repairs but I’m sure the Company can live with that as audiences quite obviously love it.
Some other brief comments:
Matthew Dale stood in for Kevin as Tony and did a terrific job.
Charlotte Riby has made the role of The RBS receptionist her very own. The two scenes may be short but they are both hilarious. A brilliant caricature.
The Ensemble seemed to be back to full strength with 13 cops in Solidarity.
The Ballet girls, as always, were wonderful. The group that was on today looked to be a bit younger but they lacked nothing in skill or passion and looked to be enjoying every second they were on stage. Their shocked reactions to Billy’s, eh, “description” of his Dad at the ballet class are very well performed and their silent presence at the sides during Once We were Kings adds to the poignancy.
There is one thing, though, that I would love to have clarified. Are we still supposed to clapalong in Merry Christmas, Maggie Thatcher? Ever since I started seeing the show the encouragement to clap was never in doubt with cast members on their feet getting and keeping things going. People at the front of the Stalls would start and others would follow. It was loud and clear and certainly very much a part of the show. Now, I’m not sure. One or two cast members do a (very) small bit of enticement to clap and those of us who know the show join in at first but, with no real encouragement, nobody else does so it is slightly embarrassing to keep clapping and we stop. Of course, it has no bearing on the enjoyment of the show whether we clap or not. It’s just a minor thing but it would be good to know what the position is for the future. I’m certain, though, that, if audience participation is desired, it won’t happen without major encouragement because audiences generally are just too shy to become involved.
Getting back to the matinee I can safely say that, as always, thanks to the brilliant cast young and old, as the curtain slowly descended on Zach’s soulful expression, all my emotions had been tossed into a blender, stirred, shaken and then ultimately smoothed over with a large helping of feel-good – leaving a big yen for more of the same asap.
Go raibh míle maith agaibh
.Pat