La Mirada and Glendale Reviews

[skkmercury]

From Neon Tommy's review....

There are focus problems, particularly during “Shine.” The song is really about Mrs. Wilkinson and features some hilarious choreography with her ballet students, but a spotlight draws attention to Billy throughout the entire number while he does meaningless stage business, drawing focus from the meat of the number.

My take on the focus (perhaps a figurative spotlight as I don't recall an actual spotlight here) given to Billy during "Shine" was that, unlike the original choreography where there doesn't seem to be much attraction to ballet at this point in Billy's eyes, the choreography in La Mirada does show Billy is at the very least quite intrigued by what's going on in the dance class.

[skkmercury]

This is a snippet from the article linked above:

While occasionally interspersing some salty language, Hall’s book too, is exceptionally witty ........

Can anyone confirm whether the language is indeed the original, profanity laden sort, in this production?

And another question: this review joins others in failing to mention that Mitchell played the role in London's West End, as well as the International Tour. Is this fact omitted from this show's Playbill, or a Press handout? It seems to be quite an important part of Mitchell's c.v. to be ignored.

Most of the profane language in La Mirada is indeed the same as what's currently being used in London based on what is captured on the Billy Elliot Live DVD. However, La Mirada, at least at the performance I saw, did not use Billy's "F'd if I know" line in the middle of "Stars Look Down". I believe all Mitchell said was, "I don't know". Billy's "F*&K a duck" line from the DVD is "For f*&k sake" in La Mirada. I'm not 100% sure, but I recall everything else being the same. I'll have to see the show a couple more times to confirm.

La Mirada's Playbill apparently was printed prior to Noah breaking his arm, so Mitchell's name isn't in it. There is, however, an insert that resembles what you might expect when an understudy is going to go on. The insert includes a picture of Mitchell and his full bio, including his national tour & London experience in BETM. I am kinda surprised by the lack of acknowledgement by the media of Mitchell's London experience.

[kport]

A fantastic review, from the Los Angeles Daily News:

http://www.dailynews.com/arts-and-enter ... great-show

[kport]

This is a snippet from the article linked above:

While occasionally interspersing some salty language, Hall’s book too, is exceptionally witty ........

Can anyone confirm whether the language is indeed the original, profanity laden sort, in this production?

And another question: this review joins others in failing to mention that Mitchell played the role in London's West End, as well as the International Tour. Is this fact omitted from this show's Playbill, or a Press handout? It seems to be quite an important part of Mitchell's c.v. to be ignored.

Most of the profane language in La Mirada is indeed the same as what's currently being used in London based on what is captured on the Billy Elliot Live DVD. However, La Mirada, at least at the performance I saw, did not use Billy's "F'd if I know" line in the middle of "Stars Look Down". I believe all Mitchell said was, "I don't know". Billy's "F*&K a duck" line from the DVD is "For f*&k sake" in La Mirada. I'm not 100% sure, but I recall everything else being the same. I'll have to see the show a couple more times to confirm.

La Mirada's Playbill apparently was printed prior to Noah breaking his arm, so Mitchell's name isn't in it. There is, however, an insert that resembles what you might expect when an understudy is going to go on. The insert includes a picture of Mitchell and his full bio, including his national tour & London experience in BETM. I am kinda surprised by the lack of acknowledgement by the media of Mitchell's London experience.

Thank you! It does strike me as odd that Mitchell's London experience is overlooked. He has performed the role in four countries on three continents, a feat that may (?) be unmatched.

[kport]

Some reviews make a point, without the need for effusive gushing:

http://www.laweekly.com/arts/billy-elli ... bs-5344152 (scroll halfway down)

I was intrigued by this paragraph:

I couldn't stand the cloying 2012 touring production at the Pantages, yet I was at times quite moved by Kite's staging of a very strong ensemble at La Mirada, and by Dana Solimando's original choreography — not to mention the superb pit orchestra (musical direction by John Glaudini). This is a new staging, contrasted against the production-line creative process of touring shows. Perhaps it was the freedom that allowed this production to feel so human. A motto about musicals: Just because they're shlocky doesn't mean they can't be true.

I love theatre, especially when it can be free of endless repetition or cloying constraints. Sometimes it works, sometimes it doesn't; but it is never dull or repetitive!

[kport]

This is certainly a novel way to 'review' : a compendium of ten or so quotes from a similar number of critical reviews, each rated 'bitter' or 'sweet'. Here, the list of review snippets are 95% 'sweet'. The fun part is that each paragraph links to an entire review, some of which have yet to be linked on the Forum.

http://losangeles.bitter-lemons.com/201 ... FpVeE.dpbs

Boo to the only 'bitter' comment !! However, the rest of that review is quite positive.

[porschesrule]

Though there have been other reviews from the LA Times posted in this thread, this appears to be a different one, called Critic's Choice and is, again, an overall very positive review of the La Mirada show:

http://www.latimes.com/entertainment/ar ... story.html

[skkmercury]

Wednesday, 1/21/2015 – 7:30 pm performance

I couldn’t resist and took in the show again last night. The cast & crew having Monday and Tuesday off to rest or to gain additional rehearsal time seems to have paid dividends. Wednesday night’s performance displayed a polished production you might expect from a long-running show and one you’d probably never expect to see from a show performed in front of an audience for only the 4th time. This is truly amazing when considering how complex a show BETM is. I was mesmerized throughout the evening by the accomplishments achieved by all who have made this show possible. It’s truly a Broadway or West End caliber production!

I had thought the previous Sunday performance may have been a little rough around the edges with respect to scene transitions. Not at all so on Wednesday night. Paying close attention to detail, I can say there’s only one transition I don’t care for. It’s the transition from the highly entertaining and fun “Expressing Yourself” to the dark and bleak reality of what’s happening in the village. In every other production I’ve seen, this is one of my favorite transitions where sounds of chaotic rioters, police and somber music bring the audience down from a high to a low. In La Mirada, there are no sounds and no music. You just hear the applause dying down after Michael’s encore to “Expressing Yourself” as a darkened stage is transformed back to the Elliot home. The transition is on the lengthy side which makes for a little bit of an awkward silence before we finally hear the somber music start. We never do hear police sirens or other chaos happening outside in this particular scene. Knowing how the transition is done elsewhere leaves something to be desired in this production. It may be just fine if you don’t know differently.

For a production I think is overall out-of-this world terrific, I do have a couple more nitpicks. “Angry Dance” also leaves a little to be desired. The riot shields the policy hold are never heaved over with what I think are cool sound-effects, and the beating of billy clubs against the riot shields is very limited. I’ve stated before, the conclusion of the number is kinda awkward. On the Billy Elliot Live DVD, Billy telegraphs that his angry dance is done. He’s exhausted and has had it. La Mirada resembles a little more like the tour where the conclusion isn’t telegraphed much; it just ends abruptly. For audiences not familiar with the show, it leaves them thinking for a brief moment, “is it over?” Then there’s an awkward silence before applause commences.

Anyway, if the transition after “Expressing Yourself” was changed as I described I’d prefer and a few changes to “Angry Dance” were made, I think La Mirada’s production would be my favorite of all because it just might be perfection. It might be my favorite anyway! As I was immersed in the show last night, there were dozens of times I thought to myself how much I liked a particular small detail and how it differed from other productions. I wanted to remember all of it to include in a review to be posted here, but many items are escaping me now or might be hard to describe without writing a novel. One example I do remember is when Billy is sitting up in his room on his bed and reading the RBS acceptance letter. Dad, Tony and Grandma sneak up the stairs to peak in on Billy and watch as Billy collapses on his bed. When he gets up, Dad whispers, “down, down, down” so as not to be noticed by Billy. This was so real and believable, and it made for a touching moment that was partially comedic but not at all like they were going for a comedic moment. Brilliant I thought!

I had posted earlier that on Sunday, the show was full of profane language on par or close to London. On Wednesday, things have been toned down a bit. All of the salty language in “Solidarity” was still there, as well as several other points in the show. One change I’m sure I have accurate is the “for f*&K sake” line uttered by Billy on Sunday was “bloody hell” on Wednesday. Perhaps it was intended to be the latter all along and Mitchell just said the line on Sunday he had been used to from London? The change that surprised me the most was Mrs. Wilkinson’s usual line to Billy of “you’re very f*&kn’ special”. I’m sure she said it on Sunday, but she said “you’re very bloody special” on Wednesday. Again, don’t know if that was an intended change or a mistake.

My last thoughts for the evening are of Mitchell’s performance. He looked completely at home in the role and completely comfortable with all of the new choreography and staging. His singing voice is better than ever. He sung the snot out of “Electricity”. I love it when a Billy just goes for it and nails it. Same goes for his dancing. Unlike the incredible moment Sunday where Mitchell inadvertently ended “Electricity” in a full split, he completed the number Wednesday in spectacular perfection. His acting is spot-on, and I can’t imagine a better performance. Sometimes, a Billy can be over the top with his reactions to George knocking him or about to smack him upside the head. Similarly, a Billy can exaggerate lines where he says “what?” or “eh?” Mitchell delivers his reactions and lines very naturally. If there was a time to make a movie version of BETM, it’s now. I have a suggestion for an incredible candidate for the lead, and his name is Mitchell Tobin!

[porschesrule]

So skkmercury, you liked it?

[kport]

Another positive (and shared) review:

http://www.laobserved.com/intell/2015/0 ... sicals.php