Billy Elliot The Musical

Billy Elliot The Musical danced up a storm in 2005, winning the Best Musical (and a slew of other categories) of Tony, Drama Desk, Olivier and Helpmann Awards. Eleven-year-old Billy's journey is an inspiring tale of a young working class boy’s unearthing of his deep-rooted passion for dance and his tenacious determination to defy societal expectations and follow his dreams. This heart-warming tale unfolds amidst a community’s fight for employment rights during the 1984 Coal Miners’ Strike in Great Britain. In a manner that perfectly aligns with the themes, era, and characters, Elton John’s (Lion King, Aida) stunning score and Lee Hall's (The Wind in the Willows, Spoonface Steinberg) gritty and powerful lyrics, tug at the heart strings in all the right places. 

CLOC Musical Theatre's 2023 multi-award-winning production of Chess was phenomenal, and left 'big shoes' (or should I say 'little shoes') to fill for their 60th anniversary offering. Boasting the Victorian non-professional premiere of Billy Elliot, Co-Directors Lynette and Chris White demonstrate a remarkable level of commitment and expertise in orchestrating such a first-rate production. From the opener, "The Stars Look Down", I was mesmerized by the immense talent showcased by the vast ensemble, creating an atmosphere reminiscent of a West End or Broadway premiere. The performers are so immersed in their roles that the distinction between actors and authentic individuals is almost indistinct. Melbourne theatre goers are in an enviable position, having the opportunity to witness this exceptional, world-class theatre group delivering their 112th production in 60 years!

If you're anticipating a lackluster presentation due to the theme of coal mining - think again! The set design / scenic artistry by Chris White, features an impressive Marley floor installation, a stage design resembling wooden flooring. It gives the feeling of perspective, where the front of the stage appears wider than the rear. The floor enhances the authenticity of the scenes set in the ballet studio, a boxing gym, the local pub, and the Elliot family’s home. The stage is flanked on both sides by ceiling high photos of terraced houses commonly inhabited by mining families in the 1980s. Real-life footage from the era, including scenes of Maggie Thatcher, is projected on both the scrim and back of the stage. The use of projections before and during the performance adds another dimension to the performance. An especially clever use of projections in the final scene depicts the miners descending in a lift. It is an exceptionally impactful moment, immersing the audience in the experience. The meticulously crafted building interiors on either side of the stage, complete with windows, lamps, and doors, exhibit exceptional design quality, realism, and versatility. The set displays meticulous research and attention to detail, showcasing a part of Billy’s home that includes a second-story bedroom seamlessly transitioning on and off the stage, almost becoming a character in its own right. Additionally, the innovative design features a toilet block that can be easily moved on or off stage by the characters, adding another layer of cleverness. There is an abundance of set changes and surprising scene stealers, too plentiful to enumerate here! However, two of my favourites include “Expressing Yourself” (when six Goliath size mannequins wearing dresses, dance and sing exuberantly, all the while upstaging Billy and Michael’s finale) and "Merry Christmas Maggie Thatcher" (where a larger-than-life puppet likeness of Margaret Thatcher’s head and hands steals the spotlight). Both of these showstoppers culminate in a hilarious and joyful finale that leaves the audience in stitches! 

Lynette White’s choreography in the production stands out for its intricate, diverse, and innovative nature. The dance sequences showcase a broad range of styles, including tap, hip hop, jazz, acrobatics, folk dancing, pedestrian movement, and ballet. White’s dedication and hard work with the large cast is evident in the exceptional performance quality achieved. The show features a plethora of captivating dance sequences that command attention, such as “Shine”, “Expressing Yourself”, “Angry Dance”, “Dream Ballet” and “Electricity”. With many years of experience and numerous awards between them, Costume Designer Victoria Horne (along with Wig & Make-up Designer David Clausen-Wisken) have meticulously researched and created period appropriate attire and hairstyles, including those of the coal miners, policemen, the working class people, as well as both rehearsal and performance ballet costumes. There are plenty of nods to 80's fashion too - big hair, brightly colored shell suits, velvet trackies, sparkly leotards, tights and leg warmers! 

The 18-member orchestra, led by the talented David Clausen-Wisken (making his MD debut with CLOC), stands out as one of the most exceptionally skilled musical theatre ensembles I have ever encountered. In particular, the orchestral section of “Electricity” left me completely gobsmacked! It was undeniably enthralling, radiating boundless energy, expert artistry, and deep emotion from the orchestra. It doesn't get much better than this! Funny to think that the orchestra is in the 'pit' while the miners are above ground on the stage!

With too many Guild awards to mention, the expertise of Brad Alcock and Marcello Lo Ricco shines through in the impeccable Lighting and Sound Design for Billy Elliot. Alcock’s mastery in lighting design, honed over 25 years in the industry, is unparalleled. Through a skillful blend of colors, silhouettes, and intricate techniques, he effortlessly stirs emotions, by creating moods that enhance the audience’s experience. Throughout twenty consecutive performances at CLOC, Lo Ricco consistently delivers flawless sound design, skillfully balancing the orchestra with the actors on stage.

Despite the complexity of the show’s numerous characters and intricate dialogue, every microphone cue was executed flawlessly. I'd like to make a special mention to Lisa Dallinger, who has done a tremendous job as Dialect Coach. Each of the performers have mastered the Geordie accent and consistently maintain it both in the dialogue and vocals. 

Lukas Elliott (Billy Elliot, at tonight's performance, shared with Sebastian Sero) was a delight throughout. His unpretentious and genuine demeanor didn’t come across as acting; what you see is what you get - the authentic essence of the boy, Billy. Elliott’s mastery of modern and classical ballet is unmistakable. The “Angry Dance”, which reflects Billy’s inner turmoil, is not only remarkable but also deeply moving. The “Dream Ballet”, featuring an older Billy portrayed by Dylan Henry, is a gripping, potent, and touching moment that stands out as one of the most heartwarming scenes from any modern musical. Witnessing Billy soar through the air evoked intense emotions in the audience, nearly prompting a spontaneous standing ovation. Elliott’s vocals during his solo “Electricity” were incredibly ethereal, evoking a profound emotional response within me and I'm sure many others.

Angus Hutchinson (Michael Caffrey, shared with Harrison Lloyd) embodies the role of Billy’s supportive, loyal, courageous, and quirky best friend flawlessly. His genuine portrayal and comedic timing provide a fitting complement to Billy’s character. Elliott and Hutchinson’s rendition of “Expressing Yourself” was a jubilant display of youthful exuberance that captivated the audience and received a thunderous ovation. Emily Bond-Fuller (Debbie Wilkinson, shared with Isla Everett) perfectly embodies both the aloof and confrontational ballet classmate, who hides a childhood crush on Billy. Her brief (but important) moments on stage are packed with punch and precision!