Billy Elliot

In the year 2000, Billy Elliot stood out as one of the most surprisingly captivating movies I’d ever seen. I say surprisingly because on paper, a story about a young boy aspiring to be a ballet dancer, who also happens to be the son of a widowed coal-miner, caught up in the the violent civil unrest of the infamous British coal-miners strike of the 1980s, doesn’t exactly scream 'Most Memorable Film of the Decade'. Nor would it seem likely it would become an even more phenomenally successful multiple award-winning musical that would play for years on end around the world.

The first professional Sydney production knocked me sideways. It was the most inventive staging and evocative choreography I’d seen. 

Given the formidable logistics - not just for the staging, but to assemble the required depth of acting talent - would seem monumental for even the slickest community theatre companies. While ultimately uplifting and at times hilarious Billy Elliot is not the usual, feel-good family confection. 

In inexperienced hands, the demanding script would easily fall horribly flat. So, it’s gratifying therefore to be there on opening night to witness every scene burst to vivid life under Ross Marsden’s meticulous direction. Each adult lead character clearly cherishes the opportunity bestowed upon them to inhabit their very colourful (read: sweary) characters and ground them with gritty authenticity and heart. Vocal Coach Denise Sam brought out the best in the big, ensemble numbers. There’s nothing quite as stirring as the rumbling cacophony of predominantly male voices singing in harmony. Jaquelyne France-Marsden’s choreography paid due homage to the original, professional production - which is no mean feat, particularly during “Solidarity” - where little girl ballerinas share the stage with protesting Miners and Police in such a way as to mesh the blocking & choreography, whilst each respective group sings different lyrics. This scene also serves to showcase the powerful presence and vocals of Alana Lane, as the formidable Dance School Teacher Mrs Wilkinson (Julie Walters received an Oscar Nomination for the film). While all of the big ensemble numbers were performed extremely well, this one is a favourite.

Which brings us to ‘Billy’s circle’. His family and his special friends. Matt Gower plays Billy’s stoic, steely and stubborn dad, Jackie, with commanding ease. Billy Hawkins demonstrates versatility as Billy's big bro (and fellow disgruntled miner) Tony. Mrs Wilkinson’s bratty young daughter Debbie, played on opening night by Sophie Clark, is an absolute scene-stealer - but her fellow ‘red team’ cast mate Lachie Liscoe is pure love and charm personified as Billy’s gentle-hearted and adorably fruity best bud. Special mention also to the beautiful vocals of Brooke Targett (appearing intermittently as Billy’s deceased mum) which were jaw-dropping. One could literally rave on and on about all of the performances, but quick shout out also to Betty Hall as Grandma, who gives all older performers such hope! 

Which finally brings us to the boy of the hour. Billy Elliot. The performer upon whom the overall professional tone of the show pretty-much rests. 

As soon as the spotlight hits the cherubic face of Zeb Peters, the audience is in the safest of hands. From the intimacy of his performance (particularly when playing opposite his mother), to his achingly sincere (newly developed) vocals to his super-consistent Geordie accent, he remained focussed and compelling throughout. 

Then, very importantly, there’s his dancing. While at times it was evident some opening night nerves were present, the aerial component of ‘Dream Ballet’ (pairing him on stage with his ‘older self’) was an absolute heart-stopper. Overused adjectives such as ‘awesome’ are necessary to describe the fearlessness it takes to pull off that kind of stunt, only to land back on firm ground and carry on without the slightest misstep. Oh, and as a former dancer, I have to praise his lovely ARMS. Chef's kiss! 

Major kudos on the lighting, stage managing and the attention-grabbing attention to detail of the costumes. Naturally, being opening night, there was the occasional technical hitch - but this phased absolutely no-one, least of all the audience. Lastly, it can’t be emphasised enough how relevant the show’s themes are today.  Being true to yourself; respecting individuality and the fighting spirit of the working class is so very tangible at this moment in history. Quality theatre and independent films remind us of the vital importance of human connection, the beauty and normality of diversity and the unfailing support for the most vulnerable members of our community. In turbulent times, shows like Billy Elliot, performed by community theatre companies, supported by the community, acts as the ultimate in group therapy for even the most hardened cynic.

Rose Cooper

Photographer: Scott Gelston