Tag: Lee Hall

Review: Shakespeare in Love (Chicago Shakespeare)

Kate McGonigle and Nick Rehberger star in Shakespeare in Love 2 (photo Jeff Sciortino)           
      
  

Shakespeare in Love

Adapted by Lee Hall 
Chicago Shakespeare, Navy Pier (map)
thru Jun 18  |  tix: $58-$88  |  more info
       
Check for half-price tickets   
     

May 19, 2017 | 0 Comments More

Review: The Pitmen Painters (TimeLine Theatre)

     
Pitmen Painters - Timeline Theatre
Pitmen Painters
 

Written by Lee Hall
Inspired by a book by William Feaver
Directed by BJ Jones  
TimeLine Theatre, 615 W. Wellington (map)
thru Dec 4   |  tickets: $34-$44  |  more info

Check for half-price tickets
    
    
      Read entire review

     
September 13, 2011 | 0 Comments More

Essay-Review: Billy Elliot – A teaching moment?

Miners Association

Billy Elliot: A teaching moment?

 

 

J.P. Viernes as Billyby Paige Listerud

There shouldn’t be any trouble with the critically acclaimed and multiple award-winning show Billy Elliot, but there is. Simply put, the music – composed by Elton John – is gorgeous, the songs, memorable. The dialogue is, by turns, funny and frank—at appropriate moments brutally unsentimental and at others deeply touching. Under Stephen Daldry’s cunning direction, Billy Elliot successfully veers from hardcore expressionism to utter escapist fantasy. It’s a heartwarming tale about a child achieving his dreams against horrendous odds. All the same, while stuffed to the gills with sterling inter-generational talent, this multilayered production just isn’t putting bums in the seats at the Oriental Theatre the way Wicked did. Broadway in Chicago invited us to its “bloggers’ bash” last Thursday, no doubt to generate a fresh injection of press. Yet, shockingly, little more than half the theater was filled on a Thursday night.

So just what is the trouble with Billy?

  • Its rough language turns off too many parents. Hard to believe that this could be a concern in an urban setting, but this is the Midwest. Marketing Billy Elliot as a family show because of its plethora of child talent may have crashed on the reefs of American conservatism over language. Certainly the movie version, when it came to the US, received an R rating for adult language, which later transformed to a PG-13 rating upon DVD release. Much as I might wish that both parents and children could appreciate the touch of realism that Lee Hall has scripted for his Northern industrial English town, my sentiments may be completely overridden by parents not wanting one more cultural inducement for their kids to engage in verbal shock and awe.
  • It’s the economy stupid. Say what you want about uplifting messages about a talented dancing boy achieving his dreams, Billy Elliot is dark. Billy (J.P. Viernes for our performance) makes it to the Royal Ballet in London, but his small town community is going down. It’s 1984 and Margaret Thatcher is shutting down the UK’s national coal mining industry in favor of cheap coal from the Eastern bloc states. 300,000 jobs are all going bye-bye–forever. Try wringing a positive message out of that scenario as America double dips into the Great Recession (Great Depression for people of color) and the Democrats lose the gains they made in Congress two years ago.

So it’s not just the dirty words—Billy Elliot is crashing on the reefs of America’s economic and political turmoil. Would that the show itself could be a teaching moment about the value of survival in hard times. The trouble is that the only person surviving decently is Billy . . . and he survives because he is exceptionally talented, because his talent holds youthful promise, and because his future career is in the arts, not coal mining. The UK still subsidizes the arts far more than the US—but even that funding is facing a 25% cut under the current government.

Emily Skinner, Cesar Corrales and CastWhat may be an even more important point, emotionally and dramatically speaking, is that Billy is a lonely survivor. The production creates an infinitely potent moment of loss and isolation with the number “Once We Were Kings.” The miners, defeated after their struggle with the Thatcher government, descend into the darkness of the mining pit with only the lights on their helmets showing. Billy watches them depart—his own shadow cast long, black and solitary behind him. One way of life is ending while Billy’s is just beginning. Melancholy infuses Billy’s singular success at the Royal  Ballet. Billy makes his escape to London—but he cannot take the rest of his family or community with him.

Sadly, this just may be more realism than American audiences are ready to pay for in our country’s present situation. Ironically, Billy Elliot is just as much about human beings resorting to fantasy as a way to cope with hard times. This production contains incredible moments of fun and beautiful fantasy. Billy’s dance number with his young friend Michael (Dillon Stevens), complete with a cadre of 20-foot tap-dancing dress, is a flight into reverie over the joy of women’s clothing for the young cross-dresser. Other fantasy moments expand into profound theatrical expressions.

J.P. Viernes and Samuel PergandeOne of the deep pleasures of this production, over and above the movie version, is that we do not actually witness Billy as an adult ballet star. Future success is only hinted at during Billy’s dance with his older self (Samuel Pergande) to the music of Swan Lake. Peter Darling’s choreography and Rick Fisher’s lighting design evoke a scene that recalls William Wordsworth’s “The Child is Father of the Man.” The audience is moved to hope and dream with Billy because it can glimpse the fulfillment of his human potential through Viernes and Pergande’s grace and control.

Darling’s choreography even makes profound social statements about the nature of children’s lives under violent labor-busting conditions. The dance number “Solidarity” is by far the high point of the show. Darling intricately weaves together the feminine setting of Mrs. Wilkinson’s dance class with the outer masculine sparring between miners and police. Billy may tussle with the girls to keep up with Mrs. Wilkinson’s dance orders, but the children seem protected and separate from the struggle that is determining the course of their lives. Darling’s choreography stunningly reveals just how illusory separation is. It brings together the two disparate worlds of Billy’s universe and the lyrics of the song even comment on the blue-collar connections between the police and the striking miners. That’s a lot to achieve in one number and the cast pulls it off fantastically.

In fact, let’s just say here that every dance number is fantastic. Only the first act finale, “Angry Dance” pales, seeming rather anti-climactic, compared to the rest. Billy’s secret ballet lessons with Mrs. Wilkinson (Emily Skinner) have been exposed. Billy’s Dad (Armand Schulz) has just forbidden both them and his chance to audition at the Royal Ballet in London. So far as Billy’s family and the other miners are concerned, ballet is for “poofs.” Billy’s angry dance afterwards meshes with the violence erupting in town, since the police have just violently attacked Billy’s brother Tony (Patrick Mulvey – see picture below the fold).

Tommy Batchelor and Police Shields But once again, the choreography positions Billy as a lonely warrior against forces beyond his control. He alone faces a line of riot police with their ominous shields. Even as symbolism, the image is heavy-handed. Surely the rage and bloodshed that the whole community faces is worth some representation on stage. Having set Billy up as the boy who is “different” from the rest—because of his love for dance–he cannot at this point stand in for the whole community. As much as Fisher’s stark, expressionist lighting packs a powerful punch, the act of isolating Billy as if he were the only one suffering diminishes the powerful communal statement of the entire production and does not cleanly communicate Billy’s rage.

  • Billy is different from other boys. Billy is tacitly queer. Could the social conservatism of Billy’s mining town, circa 1984, have its mirror reflection in the urban and suburban environs of 2010 Chicago? That’s difficult to say. So long as documentaries like Straight-laced: How Gender’s Got Us All Tied Up reveal kids being harassed and bullied just for wearing scarves or pastel colors; so long as youngsters commit suicide because of anti-gay harassment at school – messages that promote tolerance regarding sexual identity and gender expression will always be needed in America.

A message of acceptance and tolerance, of appreciating differences, not denying, hiding or shunning them—this is the core message of Billy Elliot. One wonders whether this message, too, has been overwhelmed by our current economic troubles. Billy needs to escape the economic reality that his family and community confront. But the cost to him seems to be any close association with family and community. Few moments inspire more than when, not only Billy’s family realizes that he has to have his chance, but the entire community of rough and rugged miners offer up what little money they have left to get him to his audition in London. At that moment, Billy’s queerness seems to make no difference and their funding of his aspirations becomes their last, noble expression of “Solidarity Forever.”

Billy makes it out because of his exceptional talent. Heaven help the poor queer kid in a rough mining town who is simply average. At the end of the show, Billy gives his queer buddy, Michael, a goodbye peck on the cheek. Heaven help Michael because his community’s homophobia is not over and done with, whatever they have done for Billy. Michael still has to grow into queer adulthood. On top of that, he now has to grow up with extreme economic disadvantages to himself, his family, and his community—something that won’t make the homophobia go away. One of the terrifying things about economic crises is that people often go looking for an Other to scapegoat—whether that Other is queer, immigrant, or a member of a minority.

Is Billy Elliot’s message of acceptance, then, too narrow for our times? What one has with Billy’s acceptance by his family, the endorsement of his community, and with Billy and Michael’s own personal self-acceptance, is a brief respite from the punishing restrictions of sexuality and gender prejudice. It hardly seems enough in the face of government-sponsored economic terrorism–but they have to make do with what they have. And so do we.

Right now, that may not be enough for the American public, at least in terms of entertainment. Billy Elliot is such a big, rich and complex musical treat but it cannot do it all. One can only hope that this superb production has what it takes to survive the current climate.

   
   
Rating: ★★★½
   
   

Billy Elliot is currently playing at the Ford Center/Oriental Theatre through January 15. Individual tickets range in price from $30 to $100, and can be bought at all Broadway in Chicago box offices (24 W. Randolph, 151 W. Randolph and 18 W. Monroe), the Broadway in Chicago ticket line at 800-775-2000, all Ticketmaster retail locations (including Hot Tix), and online at www.BroadwayinChicago.com. For groups of 15 or more, call 312-977-1710.  For more information, visit www.BillyElliotChicago.com.

Corrales, Skinner, Hammond and Ballet Girls

 

September 9, 2010 | 2 Comments More

Watch: cool video of Billy Elliot opening night

New video just posted by Broadway in Chicago – as you can tell, opening night of Billy Elliot was a lot of fun and a big success (see our review here★★★½).  Take a look-see!

[Check out more videos HERE]

 
       
April 22, 2010 | 1 Comment More

REVIEW: Billy Elliot (Broadway in Chicago)

‘Billy Elliot’ shines

 

Emily Skinner, Cesar Corrales and Cast

 
Broadway in Chicago presents
 
Billy Elliot: The Musical
 
Book and lyrics by Lee Hall, music by Elton John
Directed by Stephen Daldry
At the Ford Center for the Performing Arts, Oriental Theatre
Open run (more info)

Reviewed by Leah A. Zeldes

After four Laurence Olivier Awards, ten Tony Awards and ten Drama Desk Awards, you don’t need me to tell you that Billy Elliot: The Musical is worth seeing. Time Magazine also named it the "Best musical of the decade," an assessment I Tommy Batchelor as Billydon’t agree with —  my vote goes to Urinetown — but I will say Billy Elliot has everything a good musical ought to have: Fine music, outstanding choreography and a heartwarming, if clichéd, story full of triumphs and pathos.

Having opened in London in 2005 and on Broadway in 2008, the acclaimed musical has finally come to Chicago, where a stellar cast does it full justice.

Based on Lee Hall’s screenplay for the 2000 film, the plot is one we’ve seen many times before — a talented youth, dancing to his own drummer, beats the odds and makes doubters accept him on his own terms.

In this case, it’s 11-year-old Billy Elliot, son of a British miner, amid the devastating 1984 Coal War in which labor lost its fight against Margaret Thatcher’s conservative government, destroying the miners’ union and all but ending coal mining in the U.K. Billy’s mother is dead; his grandmother is senile; his dad and older brother, Tony, are on strike, along with most of the men in their town; money is short and tempers are flaring. Sent to boxing class, Billy accidentally stumbles into a girls’ ballet lesson and discovers a love and talent for dancing — outraging the men in his life.

It’s a rollercoaster of a story, full of contrasts, at turns funny and sad, raucous and refined, exultant and despondent. Politics, class consciousness, the role of the arts vs. sports, sexual identity all come together, sometimes clashingly. If the bitter defeat of the strike seems an odd match for the bright jubilation of Billy’s triumph, well … it’s a musical.

Peter Darling’s dazzling choreography makes the most of the juxtapositions, as in the brilliantly effective sequences of warring police and angry strikers interspersed with little girls in tutus.

Giuseppe Bausilio and Samuel Pergande J.P. Viernes as Billy
Tommy Batchelor and Ballet Girls Miners Association

Performed by a first-rate orchestra, led by Colin Welford, Elton John’s score, with lyrics by Hall, also brings us some startling contrasts. It runs the gamut from cheerful music-hall ditties to rousing anthems to sad ballads, from joyous to silly to angry, sometimes even in the same song. In an excellent example, one of the few solos, "We’d Go Dancing," Billy’s grandmother — a splendid performance by Cynthia Darlow — recalls her unhappy married life.

On the silly side, we get "Expressing Yourself," a strange sequence in which Billy and his transvestite friend, Michael (played alternately by Keean Johnson and Gabriel Rush), don women’s clothes and then dance with giant headless dresses.

Then there’s the pure joy of "Electricity," Billy’s paean to dancing.

A rotating cast of four boys plays Billy. On opening night, 13-year-old Cesar Corrales showed dazzling talent as a dancer and actor. A breathtaking pas de deux with his older self (onetime Joffrey dancer Samuel Pergande) deservedly drew a standing ovation on opening night.

We also see excellent moves from Emily Skinner as Mrs. Wilkinson, Billy’s pushy ballet teacher, and Blake Hammond as Mr. Braithwaite, her grotty accompanist.

No one in this ensemble puts a foot wrong.

 
Rating: ★★★½
 

This musical contains adult language some parents may consider unsuitable for children.

Billy's Under Theatre Lights

 


 

April 12, 2010 | 6 Comments More

Billy Elliot launches first webisode – watch it now!

Featuring Elton John and the 4 Billys

 

This first Billy Elliot webisode features interviews with Elton John (music), Stephen Daldry (director) and the four young stars rotating in the role of ‘Billy’ – Tommy Batchelor, Giuseppe Bausilio, Cesar Corrales and JP Viernes.

 

Find out why the producers chose Chicago for the first U.S. production outside of Broadway and what makes Chicago such an incredible city for live theatre.

Additional webisodes will be released in March and April to introduce the cast, explore rehearsals, audience reactions, opening night and more, giving viewers around the world a chance to connect with this hit musical as it begins its run in Chicago.

More information regarding the production available after the fold.

 

February 16, 2010 | 2 Comments More