Billy Elliot

NLTC’s Billy Elliot was well received by an enthusiastic audience on opening night. Many supportive families cheered and clapped their loved ones on stage and the joy in the auditorium was palpable.

This theatre company prides itself on bringing good theatre to our community and as a group they are a well-oiled machine from costumes to sets to music and performers. Having a cast of very youthful players is always a challenge and suffice to say the children in the show bring exuberance and fun at every opportunity.

The show centres around the 1984/5 miners’ strike in a pit village, Essington, in the UK. Fuelled with rage against the government of the time, led by Maggie Thatcher, the tinderbox of emotions and frustrations build to a rather sad conclusion when the humbled miners finally return to work, beaten, in 1985. Against this turmoil is the story of Billy, son of a generational family of miners. His father Jackie, his brother Tony and nearly all of the villagers are having their livelihood threatened and Billy’s future is mapped out for him to follow in their dusty footprints. Against the hopelessness of the situation, Billy unexpectedly finds joy in dance. Staying to watch a ballet class after his boxing lesson, he is entranced and begins a journey which pits him at odds with his father, brother and community. His journey of discovery to being accepted at the Royal Ballet School, IS the story. The backdrop is fierce and at times disturbing, but amid the anger and police clashes and despair Billy finds light.

On arrival at the theatre the set immediately impresses. Its clever design by Gordon Combes and Brad Mundt, incorporates harsh brick walls which transform into a ballet studio, a hall and Billy’s home. Loomed over by an ever-present factory silhouette, we are constantly aware of the backbone of the town and its omnipresent effect on the people. This is a harsh world, and is juxtaposed against the soft beautiful world of ballet.

Michelle Davy confesses in her director’s notes that she took over the reins half-way through the rehearsal process and she is to be congratulated for working well with such a large eclectic cast and challenging storyline. Some good choices were made in utilising mobile trucks and flexible furniture, but for this reviewer the space could have been used more effectively - much action was far upstage and varying the use of entrances and exits would have enhanced the scenes. The set changes on opening night needed also to flow better, as this is a long show, but this will improve as the run goes along.

The cast is large and while it is important to give all ‘stage time’, there were moments where  the number of people onstage detracted from the intent of the scene. Sound was also an issue on opening night - some dialogue was lost and at times the orchestra too loud - balance will come with time but it is important to get this right as the accents are tricky and need to be clear.

Having said that, the cast deserve praise for their hard work. Aidan Salmon as Billy, has the lion’s share of the show and brings an innocence and joy to the role. His dancing is vibrant and his singing pure, and his duet to Tchaikovsky’s Swan Lake with talented performer Bailey Edwards was beautiful. A highlight.

As Billy’s father Jackie, Andrew Mair knows how to follow character trajectory and moves well from boorish, but tragically sad widower, to a father, compassionate and supportive of Billy’s journey. An excellent performance in acting and singing. A standout, also, was Liam Phillips as Tony, Billy’s brother - a tortured angry soul struggling to save his livelihood and grappling with Billy’s needs. Very watchable.

Wendy Rayner, a stalwart of Adelaide theatre, delivers a wonderful performance as Grandma. Her gentle love of Billy (and occasional pasty) and lovely solo song, were delightfully poignant.

Sarah Hamilton, as the ballet teacher who inspires Billy does a great job in wrangling the many little ballet dancers in her self-confessed ‘second rate’ teaching class. She also shows her dancing chops well, although some of her songs on opening night left her somewhat breathless.

Newcomer Noah Magourilos was a lovely surprise - a very talented young man who understood his character as the ‘gay’ friend of Billy (definitely one to watch), and Mila Ilic as Debbie, the dance teacher’s daughter was wonderfully irritating and petulant.

This is a very large cast and there are many ensemble members and small roles that deserve praise - for example Kate Hodges as Billy’s mum. Her moments on stage created great emotion and her always crystalline voice, gave shivers.

The ensemble of miners and police embodied the frustrations well and harmonised beautifully. In stark contrast to this anger and fear, were the young ballet dancers. Delightfully and intentionally bad-but endearing and fun!

The choreography in the show by Sarah Williams is clever and the tapping numbers a particular highlight, showing the cast’s skill. The ballet choreography likewise was lovely.

The orchestra led by Billy St John did a good job and will tighten as the run continues, but some further scene-change music would be of benefit during the many set movements.

Costumes sourced and made by Michelle Davy, Anne Humphries and Cheryl Ford were period appropriate and colourful. Very impressive were the giant dancing dresses- amazing! Lighting by Tom Lloyd was excellent, conveying mood well and using colour and gobos to great effect.

Billy Elliot at NLTC is a show which has been put together with huge effort and much love, and whilst some staging choices could have been better, it is a delightful night out at the theatre and deserves community support

Shelley Hampton