Review: BILLY ELLIOT, Curve Leicester

Photo credit: Marc Brenner

As the curtain rises on Billy Elliot The Musical, a group of miners emerges dramatically from the depths of a coal pit, their way lit only by headlamps, their voices joined in a protest chant. The audience is immediately whisked back to the beginning of the 1984 Miners’ Strike, a time when the coal industry was attempting to prevent colliery closures, and families were struggling to deal with the cost of living, feeling abandoned by an uncaring government. It may have taken place four decades ago, but many of the themes in Billy Elliot feel surprisingly relevant today.

The musical, which premiered in the West End in 2005 to great acclaim, is based on Stephen Daldry’s much-loved 2000 film of the same name about an 11-year-old boy who discovers a love for ballet, but doesn’t immediately win the support of his family. With a book and lyrics by Lee Hall and music by Elton John, the musical was originally directed by Daldry and encapsulated all the charm of the film. This new production by Curve is directed by Nikolai Foster and introduces a few changes, including a welcome trimming of the runtime, but maintains the original’s heart. It’s a story which showcases the joys of both individuality and community, and encourages us to accept difference in ourselves and others.

The role of Billy, played on press night by Jaden Shentall-Lee, is a demanding one requiring an almost constant presence on stage, but Shentall-Lee handles it brilliantly, giving a magnetic performance that shows Billy’s toughness and sensitivity, and makes the audience weep with him when he grieves for his mother. He’s surrounded by excellent adult actors, including Sally Ann Triplett who is a force of nature as Billy’s dance teacher Mrs Wilkinson, and Joe Caffrey as Billy’s dad who goes on the biggest emotional journey in the show. Rachel Izen brings a lot of laughs as Billy’s pasty-loving grandma, though she’s sadly underused, particularly in the second act. The character of Billy’s friend Michael, played on press night by Prem Masani (making his stage debut in this production), is also a highlight every time he enters the scene with his abundant confidence, humour and love of women’s clothes.

The musical’s score is a mix of poppy feel-good songs, folk-inspired ballads and rousing ensemble numbers, and while they are not all entirely memorable, there aren’t any that overstay their welcome. Standouts are ‘Electricity’, Billy’s soaring explanation of how he feels when he dances, and the catchy ‘Solidarity’, an ode to community. ‘Solidarity’ is wonderfully staged as protesting miners and antagonistic policemen intertwine with an ongoing ballet class, and Billy achieves his first pirouette while surrounded by rising tensions and barely suppressed violence. 

While the dancing overall is a little less polished than the West End production, Lucy Hind’s naturalistic, quirky choreography works well and makes it easy to believe that Billy’s movements and routines are ones that a boy his age would come up with.

The Curve’s expansive stage space is used to full effect throughout, and Michael Taylor’s deconstructed, industrial-style sets are stunning. The combination of smoke, haze, and Ben Cracknell’s excellent lighting creates an impressive atmosphere, and Adam Fisher’s sound design is spot-on, with every word easily decipherable. (It’s worth noting that many of those words are swear words, and the age recommendation for this is 12+, though there is plenty here to appeal to a variety of ages.)

Billy Elliot The Musical doesn’t shy away from showing the hard realities and disappointments of life, but it’s also a funny, uplifting, and inspirational story with richly-drawn characters. This beautifully realised production will make audiences laugh, cry, and leave the theatre with a renewed sense of optimism.

***** Five stars

Reviewed by: Laura Lott

Billy Elliot plays at Curve until 20 August, with tickets available here.