Drury Lane Reviews

[kport]

Here is a glowing review, from the MySuburbanLife:

An impressive regional production of “Billy Elliot,” the musical based on a book by Lee Hall that's pulsing with music by Elton John, has taken Drury Lane Theatre by storm in its regional premiere.

http://www.mysuburbanlife.com/2015/04/2 ... 42/?page=1

[cws8998]

Yesterday [Thursday's Matinee] only reconfirmed my suspicions of what I had witnessed, [and those of professional critics whose opinions I think I have read], that the Drury Lane's BETM is both an extraordinary and imaginative reproduction of this grand UK and Broadway show. As you recall in my previous review, I was mesmerized and deeply moved having seen the 9th show from it's opening. And I must admit even more so this time around, I found myself joyously returning to those feelings, simply because I was better able to absorb the all the vast changes from the original stage production [which continues to remain so deeply implanted in one's memory]. The discovery of the character change in scenery, the lighting effects, the blocking, and of course, the imaginative choreography which dramatically changed every scene, all provided me a different excitement and brilliant color for this musical and the process of savoring the tale of Billy's transformation

I had commented about, and strongly implied the degree to which each character in this cast, never appears to be contrived or over-played as I often felt I had experienced in past productions of the musical. This fact alone, in my opinion, provides a true authenticity to the nature of each cast member, and hence to the complexity of the whole story. Given the genuine emotions and esprit recognized in their roles prevented me, as well, from ever having to compromise my sincere empathy for the realism they continually demonstrated.

Anyway, special kudos have to go to Holly Stauder who stepped in for Susie McMonagle as Ms. Wilkinson. In my opinion, I never felt she missed a beat and provided strong rudder control much similar to the wonderful actresses we have all known as Ms Wilkinson. If truth be told, she could qualify as a first stringer any day of the week. Ever aspect of her delivery was first class and is it any wonder she was so enthusiastically received by the audience. She was simply wonderful!

The contrast in the depth of emotions which Nicholas Dante demonstrated throughout his performance was a tribute to this diminutive youngster's extraordinary acting versatility. When he is on stage, he simply steals the day. It was difficult for me to take my eyes off his expressions, for therein laid a perfect portrait of the entire depth of his long journey. Without equivocation, I felt his performance was as magnificent as any youngster I've ever seen in the role of Billy. The thorough command of his acting ability all translated to his dancing techniques which were characterized by
uncanny flexibility and gorgeous lines in both movement and pose. Being an athlete myself, this kid had me leaning in my seat given the precise totality of his movements giving me cause to bend and reach with him.

I won't hesitate for a moment in suggesting that his "Dream Dance" was an execution of beauty beyond any I can remember, notwithstanding, it followed an emotionally explosive "Angry Dance," which never ceased in drawing you into the dramatic depths of his personal anguish. It was absolutely spectacular...unforgettable! Transfer all that to his singing and then his performance of an epic "Electricity," and what you and the audience are left with was the visual pleasure of witnessing the complete talents of a very special "Billy" delivered by a very special young man.

Never to be overlooked in this production is another performance of shire brilliance by Michael Harp as "Michael." It is drop dead, perhaps the best you'll ever see in this Musical. Even as a young kid, this guy is a seasoned actor and it shows throughout the show. What seems to set him off from others is the very character of what seems to be a natural comedic disposition. Frankly, it seems to elevate his role of Michael to an altogether different height. Harp's special performance is one I wish every Forum Member could experience. Even with his strong embellishments in "Expressing Yourself" he constantly delivers a sense of joy and happiness throughout the show, further suggesting his performance in "Expressing" is every bit who he really is. No doubt that this kid "knocks it so far out of the park," who could ever deny the roar of the audience on his behalf at the conclusion of the final full company celebration.

It would take forever to contemplate the wonderful performances of all members of the main cast and ensemble, but I can assure you, their voices and their contributions to Drury Lane's BETM can never be overstated, as each in their separate ways, lends superb character to an unforgettable production. I have been amazed, and I anticipate being further amazed returning as often as I can through the duration of the show's run. It is like a new experience for me and I relish the refreshment of a theatrical story which so affects my own life.

Colin

[kport]

Here is another glowing review:

OFFBEAT with PHIL POTEMPA: 'Billy Elliot' captures Drury Lane stage with talent and triumph

http://www.nwitimes.com/entertainment/c ... d426b.html

[kport]

Here is a glowing review from the blog Rosie Discovers:

http://www.rosiediscovers.com/2015/05/b ... heart.html

[kport]

I finally found an excuse to see both shows - namely, the excellent reviews from Chris, Colin and Musical Fan compelled me to see what all the fuss is about! I literally flew in and out in a 24 hour period, and caught both shows on Saturday, May 9th. (The theatre is a very easy 40 minute drive from O'Hare. There are plenty of motels of all price ranges within minutes, and every sort of restaurant).

I am so happy that I did, because this is a show that deserves the description 'Not to Be Missed!'. It will also become the longest running of the five regional productions seen to date.

I won't repeat the many observations made by others, but will add a few of my own.

The stage is fairly wide, the proscenium arch is a bit low and the stage's depth is less than at other theatres where I have seen BETM. I believe these are some of the reasons why the creative team has had to to scale down the sets, change some of the choreography, and alter the flying. But scaled down does not make it less good. Since there seems to be less vertical stage height, the flying is a bit lower, but made effective by moving the wire forward, to the point where Billy soars over the head of the music director and almost into the laps of the audience.

My one regret: that the Durham Miner's banner was not lowered for Billy to acknowledge as he left the stage at the end. He acknowledged a black wall.

Some of the dialogue was quite snappily delivered (for unaccustomed ears), but the audience seemed to hear and understand every word, because the theatre's sound system is excellent. The language was full-frontal no-holds-barred Geordie (there were a lot of chuckles whenever an F-bomb was dropped). The altered choreography made a lot of sense. The sets were quite minimalist, yet very effective: a movable 24-foot wide battered corrogated steel wall served several scenes (even becoming, in one scene, the Wilkinson's front door, complete with an added door bell). The creative team proved the adage that 'more is not always best' in these designs. The most stunning item is a six paneled mirror wall that emerges in Electricity and again in the Finale: suddenly two or more Billys are dancing Electricity, from front and back view; and the ensemble is doubled in the Finale. The stage also appears twice as deep. The effect is stunning.

The adult cast are all excellent. I had never seen Susie McMonagle before, and in two performances she proved to me that she is equal to the finest. Tony, played by Liam Quealy, was a standout from start to end. I thought the ensemble were very strong, and excellent singers. Once We were Kings was outstanding, complete with a real stage elevator to lower them deep into the ground. I thought the Scottish Ballet Scene between Ron E. Rains (Dad) and Rhett Guter was more restrained and far, far better at getting across the key point: 'Look after your boy'. 'Born to Boogie' -was fantastic (and perfect rope skipping in both shows).

As for the children, I know that sometimes we fret about how they will find them for regional shows, but rest assured: they found them - really wonderful ones - for this show. The ballet girls are delightful. They actually do get Billy's autograph in their last scene! Small Boy's role is developed much more in this show than in others, and Zachary Uzarraga, who comes with extensive experience yet packs it all into a tiny figure, is stunningly funny, from his first press up to the finale, in which he leads the entire cast in a snaking line around the stage. How many choreographers would entrust that important task to any little guy? Small Boy is even cast as Maggie Thatcher, in MCMT, in which he comes out in a perfect little blue-grey Maggie dress and wig - and he plays her to the hilt. This arrangement of MCMT is so different, yet it holds its own against all the others I have seen. No puppets, but we do get 'Oh my darling Heseltine', complete with middle fingers. I saw both Debbies play their part, and both are fantastic, in subtly different ways. They are clearly playing a 'younger' Debbie (when compared with Billy). I don't think I have ever heard louder laughter at the 'hoo-hoo' remark than I did when it came from Brooke MacDougal.

Michael - played by Michael Harp, who played the role at The Muny last summer, is so funny, so well prepared, and so well trained, that he makes the role come alive and absolutely sets the audiences off into fits of laughter. I enjoyed the 'beer can' scene when he and Billy sit on the stage floor, facing the audience, as they have their discussion, bringing the audience into their conversation. Another brilliant change comes when Michael places Billy's hands under his coat - Billy immediately snatches them away, saying quite disapprovingly 'What are ye doing?, before Michael takes them again and this time succeeds. In other words, Billy is less ambivalent and Michael is more determined. Finally, this show's version of Expressing Yourself has to become the new standard for regionals: having seven bearded burly ensemble men in wigs and dresses and handbags burst from Michael's closet, looking for all the world like Kenny Everett's Cupid Stunt (don't think about that too much!) or even Dame Edna Everage - was absolutely hilarious. And let me end with this observation - no other Michael has ever milked the final moments of Expressing as well as does Michael Harp! He had the audiences roaring with laughter and applause, long after the music died.

How does one train a Billy from scratch? A Billy has to be a triple threat. A Billy has to have experience on the stage. Last summer we saw a great find in Sam Faulkner, who had these traits, and exploited them at Ogunquit and Raleigh. Drury Lane has found it, without any question, in Nicholas Dantes and Kyle Halford. It can be done! Both boys are true triple threats (their singing is as good as it can get) and both have an amazing stage presence. Both combine with Michael to make a great acting duo, and both boys look thoroughly comfortable on stage, with others, and with the audiences. You may have noticed that I have singled neither one out for special praise: that is intentional, because they are both outstanding in every sense. They both interact with the audiences' emotions, and lead it on Billy's journey. And there, for future regional productions, are two outstanding young men to consider for their Billys. Plus, of course, Michael Harp, for the role of Michael!

And this is something I loved to see: about five minutes before the start of MCMT and the second act, Billy, Michael, Tall, and Posh boys (I could not see if Small Boy was there, but I bet he was) passing through the reassembling audience (some sitting and many still standing and talking), through rows of seats and up and down the aisle, with reindeer antler hats and buckets to collect 'money for the scholars' - they collect for a scholarship given out by the theatre to its students. Can you imagine this happening on Broadway - these kids interacting with the audience in such an informal yet wonderful way? Judging by the buckets overflowing with green paper bills, they must be very successful!

In between the two shows, most of the younger cast were in the food area, happy to talk with any guests, and have their photos taken, as indeed were many of their parents. They were very pleased with all of the praise they were receiving, in a very happy and informal setting.

If I may, I will offer a few bits of advice for anyone still thinking of coming: Do! The seats are all good, with no sight obstructions, and raked so that you do not see the heads of the people in front. They are a little narrow (or I am a little wide!) but here is a hint: the front rows designated AA - BB - CC - have more leg room and are wider (my theory is that these are VIP seats). On the far left or right of those rows you miss a little of a wing, but nothing much, and of course you can see faces better. Finally, Billy walks down the right aisle at the end of the show.

Do try to see it, if it is at all possible to do. It really is a great show in a great theatre, and it is a very friendly atmosphere. And the food is excellent, too!

[CJ-Rochester]

Wow, excellent review Kport, and spot on! Even though I have been in London the past few days, the Drury Lane show is still very fresh in my memory. Your review hit on many great points. Hopefully more fans will be able to see this excellent production.

[ERinVA]

What a great review, kport! Thanks for posting it.

[porschesrule]

Thank you kport for a great review of the Drury Lane production. As others before you have remarked, this is an excellent rendition of BETM -- not just an excellent "regional" production of the show -- but in many ways it seems to be the equal of ANY production of BETM anywhere.

The success of several regional productions of the show to date is so gratifying to hear because it means the regional theatres are fully capable of producing top notch renditions of the show. Again, BETM is alive and well in the US!

[MusicalFan]

Thanks for the great review, kport!
I also saw both shows on Saturday (would have been fun to run into eachother), and once again was blown away. This is one of my favorite BETM productions I have seen thus far.

I don’t need to repeat all of the details, since it has been so exquisitely captured by the reviews from Chris, Colin, and kport, but I wanted to share a few observations.

First, as mentioned already, the acting by everyone in this cast is phenomenal. What I particularly loved was that every actor on stage was fully in character at all times, and all scenes seemed so natural that it drew the audience completely into the story. And I don’t just mean the main principals delivering the lines, but even the background actors with no key lines in the scene. Small boy and the girls chasing each other around at the beginning, full of joy in a child’s game… the ballet girls talking amongst themselves… the miners quietly humming and singing along with Jackie in “Deep into the Ground” lending their support… really every scene. The performances were spot on, and contributed greatly to the whole experience. I also have to give a special shout-out to the principals Dad, Tony, and Mrs. Wilkinson. Their performance was intense! Dad’s anger when he sees Billy in ballet class, Tony’s tirade when Billy is missing his audition and Mrs. Wilkinson comes in, and Mrs. Wilkinson standing up to Tony… Wow!

While I’ve seen the show countless times, there were a few new tidbits that I noticed, perhaps because of new lines/staging, or because the acoustics were so good. At the beginning of Solidarity, when the policemen are lined up and the Ballet Girls walk by, they enter through a small door to the ballet studio. As they do so, one of the Ballet Girls asks Keeley Gibson “Did you bring your shoes this time?” (or something like that) to which she replies “Oh Sh*te… I forgot them again!” Also, in the bathroom scenes, you can notice some fun graffiti on the bathroom walls (e.g. “Mind the -->” and an arrow pointing to a gap in the wall, as well as insults to Mrs. Wilkinson and Maggie Thatcher. Another aspect that really came across well – initially in the second scene (Elliot’s Kitchen) when the miners leave for the picket line, there is excited cheering “Maggie, Maggie, Maggie … out! Out! Out!”. Towards the end of the musical, when the miners are heading out again, there is the same cheer, but without any energy in it at all, like everyone is just saying it but totally dejected and lost their hope. It fit the situation perfectly. (Again, the acting.) Also, in one of the final scenes were Billy comes to tell Mrs. Wilkinson to tell her he got in to the Royal Ballet School, one of the Ballet girls takes off her shoe to have Billy sign it, while Tracey Atkinson has Billy sign a potato chip bag .

Definitely a show not to be missed.

[kport]

That is a great review, Musical Fan. You captured some of the unique moments that make this production very special.

I noticed the potato crisp (!) bag being autographed, too, and saw that is a Walker's Crisp product - from the UK. Also, that the can of beans was, indeed, Heinz Beanz (UK). Little details like that mean that the creative team is on the ball!

I failed to mention before that the music is top notch. Nice to hear a few added effects, like plucked strings in some of the classical links between songs. Fantastic electric guitar playing in Angry Dance!