Last night the Shedley Theatre was literally packed to the rafters for the opening of Northern Light Theatre Company’s production of “Billy Elliot”. Director Michelle Davy, together with MD Billy St John and his assembled orchestra as well as Choreographer Sarah Williams can all feel rightly proud of their team effort. Davy, in particular, who took over the directorial reins halfway through the rehearsal schedule can justifiably take a well earned bow. It is by no means an easy challenge to inherit a work already in progress and complete the task in a more than just satisfactory manner. Davy succeeded admirably.
In order to attempt a production of Elton John’s “Billy Elliot” (with book and lyrics by Lee Hall), more than for any other show I can think of it is necessary to first find a “Billy”. To find two “Billys” actually, one a young lad who has the required diverse skill base and his adult alter ego who can dance with a professional and polished ease. NLTC found two performers to fit those needs, but more of them later. The action takes place during the UK coal miners’ strikes in 1984-85 with PM Margaret Thatcher determined to eliminate collieries she deemed unproductive and inefficient. Mining communities in NE England were most affected by bloody clashes with police in riot garb. Billy’s family is embedded in a mining tradition stretching back over 150 years. Within that scenario, and with the fiercely determined encouragement from dance teacher Mrs Wilkinson, Billy Elliot discovers a penchant and passion for dance.
The set (designed by Gordon Combes and Brad Mundt) is focussed on the expansive floor of a dance studio. In other iterations it becomes a boxing venue, the Elliots’ living area and a battle ground for clashes between miners and riot police. Peripheral wooden chairs are astutely made use of in several creative dance segments. The whole stage is effectively used throughout. Costuming (design by Michelle Davy and Ann Humphries) is a visual highlight particularly for the ballet class and in the cross dressing scene. The dance routine of the large wardrobe clothing pieces (constructed by Ann Humphries) is a visual sensation. Dance must have music and Elton John’s music is ably delivered by MD Billy St John and his assembled orchestra.
And so to the players. First of all I will comment on the admirable discipline and collective enthusiasm of the ballet girls. With imaginative and interesting choreography by Sarah Williams, the girls’ ballet class is an excitement machine in a production jam packed with memorable bits and pieces. Well done the lot of you! That also applies to the ensemble as a whole with many playing cameos that all contribute in a positive way. The collective pride and pleasure demonstrated in your stage contribution is palpable. Wendy Rayner’s Grandma with her unconditional love for her grandson as well as her particular passion for pasties was an audience favourite. Her “Grandma’s Song” was beautifully delivered. Noah Magourilos as Michael snugly inhabited his role with his deep affection for his friend Billy. His startling revelation of his love for dressing up in his sister’s clothes was handled with aplomb. He reassures Billy that it’s no big deal and that his father “does it all the time”! Magourilos’ character construct and antics were well received by the audience. Tony Elliot (Liam Phillips) is Billy’s older brother and pretty much a carbon copy of their father. He is a miner, proud of it, and will fight to the end. A fitting performance from Phillips. Andrew Mair plays their father Jackie Elliot. He misses his late wife terribly and is a passionate supporter, even leader, of his fellow miners. His song, a lament “Deep into the Ground”, is extremely well controlled and delivered, evoking the depth of sadness that touches his soul. It was a musical highlight for me. When he finally goes into bat for his son Billy, we see the truth of his character on display. Bailey Edwards as Mr Braithwaite/Older Billy performs a key role in this play. Whilst he first reveals his dance and movement ability in the “skipping” routine his dual (and pivotal) performance with Billy really showcases his training, his timing, his expertise and his “feel” for dance. This did not escape the favourable attention of his audience. Other minor characters worthy of note are Sam Davy as the down to earth, no frills boxing coach George, and Milla Ilic, who as Debbie, moves well, has excellent vocal projection and is none too subtle about her “crush” on Billy. Kate Hodges as Billy’s late Mum shares some revealing and touching dialogue with her son. Her vocal contribution to “The Letter” in Act 1 and reprised with Billy in Act 2 provides us with moments both moving and salutary. And just because it’s important to do so I must mention Small Boy Lucas Mentha together with smallest boy on stage, six year old Finn Davy. I hope this mention heralds a lifetime interest in amateur theatre for you both!
Sarah Hamilton as dance teacher Mrs Wilkinson pretty much made the stage her own in calling the shots to her ballet class and in her role as passionate supporter and mentor of Billy. Her collective stagecraft, great articulation and excellent timing are hallmarks of a fine performance. So to Billy Elliot. Aidan Salmon’s performance was delivered with a direct and honest assurance that captivated everybody. His relaxed stage demeanour belied the preparation and trial and error work that undoubtedly went into the construct of “Billy’s” character and performance. At the end of the day we believed his boyish skills would become those of his alter ego. Salmon’s vocal delivery and salesmanship is sound especially in numbers like “Electricity”. He addresses his audience with a simple sincerity. Bravo!
There were some iconic scenes and images dotted throughout this production and I must make mention of a couple of standouts. The sound and movement of the police riot squad scenes with threatening shield and truncheon were very well realised as was the singular glare from the miners’ headlamps as they prepared for their caged descent down the pit. It was visually stunning and a great note for me to end on. From FOH hospitality professionalism to a superlative post curtain call dance blast in taps, the cast of “Billy Elliot” had the last say! Very apt!
