What if you have a dream or passion that does not fit other people’s notion of you?
‘Billy Elliot the Musical,’ playing now at The Prochlight Music Theater through Nov., 26, 2017 is about managing change and redefining who others say you are and who you think you can be.
The stage play with music by Elton John and book and lyrics by Lee Hall is adapted from the 2000 movie “Billy Elliot.” The time frame Is Thatcher era 1980’s in a small coal mining town near Newcastle in England. Union miners have been on strike for nearly a year and tensions between them and the “scabs” brought in to replace them is violent.
Billy Elliot (Jacob Kaiser) is 12 years old, his mum (Nicole Cready) is dead, his grandmother (Iris Lieberman) is senile and his brother (Adam Fane) and father (Sean Fortunato) are on the picket line, struggling to survive.
One day Billy happens into the community gym and gets involved with a rag-tag ballet class run by Mrs. Wilkinson (Shanesia Davis). The chance encounter ultimately helps Billy find a way to express his budding adolescent angst, repressed grief, and shared frustration of what seems to be the impossible social situation that seemingly defines his life.
This expression is interpreted in two emotionally powerful dance numbers “Angry Dance” and “Electricity,” each skillfully co-choreographed by Brenda Diddier / Craig V. Miller and brilliantly performed by Kaiser with Ivan Bruns-Trukhin as Older Billy.
In his transformation to adulthood Billy begins to consider his sexual identity which is tested by Mrs. Wilkinson’s daughter Debbie (Princess Isis Z. Lang), his best friend Michael (Peyton Owen) and a testosterone filled environment that does not necessarily consider ballet dancing a viable or proper gender conforming career path.
His dilemma, as well as economic realities, requires that he and those who are concerned for his future re-imagine another way of being.
Everyone must come to terms with the fact that times are changing. Coal is no longer part of the future. The jobs and the community that supported the industry are no longer an accepted surety.
Led by Director Brenda Didier, the company is outstanding from beginning to end starting with Jacob Kaiser who is an energetic and expressive dancer, singer and actor.
His transformation from beginner to advanced dancer was well controlled. His voice has a gravelly quality that is perfect for his age. It is clear this young man understands the part he is playing. Every line and every step was just right. He handles this demanding role with subtlety and maturity, devoid of annoying precociousness. Bravo!
Adam Fane, Billy’s older brother kept his emotional performance in bounds. Sean Fortunato, Billy’s Dad portrayed a perfect mix of stoicism and compassion.
Chicago stage veteran Iris Lieberman was spot-on as Grandma avoiding what could become a cliché performance. Peyton Owen as Billy’s best friend embraced his character with charm and elegance. Shenesia Davis manages the demands of her straight talking character Mrs. Wilkinson whose somewhat aloof nature could be misconstrued as harsh.
The ensemble was excellent, and it was clear that the girls of the ballet were having a blast.
Recognition must be given to dialect coach, Sammi Grant because there was never a time that anyone’s “English” accent was a distraction or got in the way of their performance.
Staging provided by this comparatively small venue at the Ruth Page Center for the Arts allows you to experience this production of “Billy Elliot the Musical” in a very intimate way.
The score has a unique quality that is difficult to define. It is contemporary but not “pop” or “rock.” It has aspects of classic musical theater but is not driven by the melody.
The play’s anthem, “Solidarity,” is rousing and powerful. “Grandma’s Song” is humorous and poignant. “Expressing Yourself” is a showstopper while “Born to Boogie” offers a bit of lightness and levity. In the case of “The Letter” I doubt there was a dry eye in the house.
Conductor/ Pianist Linda Madonia and her musicians Justin Kono, Cesar Romero, Greg Strauss, Cara Hartz, Dan Kristan and Sarah Younker provided the cast with a wonderful accompaniment behind the set’s sliding glass panels in the back of the stage which provided an effective illusion of the miners’ elevator decent at the end of the play.
In short this production is perfection.
Note: The part of Billy Elliot is shared at various performances by Lincoln Seymour.
DETAILS: ‘Billy Elliot’is at The Porchlight Music Theater in the Ruth Page Center for the Arts, 1016 N. Dearborn, through Nov. 26, 2017. Running time: 2 hours, 30 minutes. For tickets and other information call (773) 777-9884 or visit Porchlight Music Theatre.
For more shows visit TheatreinChicago.