November 2014 Reviews - London

Reviews of the show
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OliverWaters
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Re: November 2014 Reviews - London

Post by OliverWaters »

I was also at Matteo's performance on Saturday, he was fantastic :D I was sooo far away, I was on the back row of the Grand Circle :(
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Barry Appleby
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Re: November 2014 Reviews - London

Post by Barry Appleby »

Cheers and thanks Pat, John and others for your reviews they are much appreciated again.
Nice to see Deka's remarks at the end of the show for Dayna and of course the Ballet Girls who were leaving the show.
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pinknick103
Tony
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Re: November 2014 Reviews - London

Post by pinknick103 »

patc wrote:Saturday 15th November – all day

What an absolutely brilliant double bill of top quality entertainment with two massive adoring audiences captivated for every second.

Starting off at the Matinee, Matteo blew everyone out of sight with a Billy performance of most magnificent excellence. What this boy has done since he arrived in May to take over this role is almost unbelievable. In football parlance this was Roy of the Rovers stuff except, unlike Roy, Matteo is for real. The doyens of showbiz who do the child casting in this show have an unerring habit of getting it right and to say that Matteo has justified their belief in him must be the understatement of the year. Blessed with a superb stage presence, a haunting voice, acting to die for and wonderful dancing skills it was totally appropriate that the entire theatre upstairs and downstairs was on its feet at the end. I found it emotionally uplifting from the viewpoint of both Billy and Matteo himself to watch it unfold. By the time we got to Electricity I was ready to evaporate and, when emotionally-charged Deka leapt from his seat to acknowledge what he had just seen, it was all too much. The tears streamed from my eyes.

Getting back to that Electricity it was quite something. Graceful dancing, the floating-Tornado-like spin near the end, the raised-arms-while-spinning plus the smile after it, that all-engaging smile that almost says, “bloody ‘eck was it that good?”.

Todd threw his body, heart and soul into presenting us with his unique interpretation of Michael and came out with glowing colours, not just in Boxing and Expressing, but in the more poignant moments he showed some lovely touches and facial expressions that conveyed his feelings towards Billy. The piéce de résistance, though, was his vital final curtain scene where he absolutely nailed Michael’s desolation in a manner that I have not seen bettered in my time seeing the show. It was gut-wrenching to watch amidst total silence and respect from the audience – that is, until some idiot with an extremely loud single clap (and a half) decided he/she wanted to spoil it and managed to persuade some others to follow suit. It is beyond me why someone in a theatre audience feels the need to draw attention to him/herself by this sort of thing. Not dissimilar to those concert-goers who insist on clapping after the Third movement of Tchaikovsky’s 6th – they completely misunderstand what is going on. Luckily, Todd wasn’t fazed and continued his moving performance until he disappeared from view.

Kyria has also just completed six months in the show. Right from Day One she showed she has what it takes to project Debbie's personality onto the stage. I'm never quite sure how you would actually describe Debbie's personality in words but, whatever it is, Kyria got it in one.

As if all that wasn’t enough the evening show was performed by the same cast as I saw on Thursday Matinee, Bradley/Tomi/Dayna. I already did a review of that show two days ago and yesterday’s performance was just as brilliant and uplifting and, yet again, a magnificent standing ovation from all.

Barnaby, in addition to delivering his usual two magical Dream Ballets, was called upon in the evening show to do his Ballet Dancer from Sheffield routine (mic working this time, thankfully) and he passed with flying colours. I enjoyed it immensely. Oh, Nic, where are you, LOL?

I had been disappointed by there being no announcement of leavers before the show but never fear, Mr. Walmsley was here. After the Finale he stepped forward and gave a most welcome and endearing farewell to all three Ballet Girl Groups and then brought Dayna forward to announce her retirement from the show after three fantastic years. Even by Dayna’s high standards she had kept the best wine ‘til last and her final performance at BETM was one that will long live in the memory. My grateful thanks to all the girls. There were some tears but, outside afterwards with their folks, they had the proverbial ball with songs and photos.

IMHO, there is no better person to do these honours than Deka. You can feel and hear the sincerity in his voice. You know he really is going to miss them.

The Adult cast and Ensemble are extraordinarily talented. Even when some are missing someone always effortlessly steps in to take their place in most convincing fashion.

I thank my lucky stars that I am in a position to see this show often. But Billy Elliot is not just a show. It is an experience - an incredible human experience of monumental proportions. Even if you never wanted to be a ballet dancer there is so much in there that is so true to many ordinary people’s lives.

With the current cast and music maestros the magic just goes on. In the original film, I think the final (adult) Michael’s comment was on the lines of “I wouldn’t miss it for the world”. That sums it up perfectly.

Pat



He he Pat-I wish I had seen that. IN fact I was at the show Weds, but seems I was unlucky as the extra role started on Thurs.
Sounds like sat was a great 2 show day. Sorry I missed it. Bloody full time job!!!!!! Xxx
Dean x1, Leon x1, Trent x1, Josh x12, Layton x10, Corey x5, Fox x10, Tom x15, Brad x5,Ollie x7,Tanner x2, Dean CC x 9, Aaron x 2, Rhys x3, Scott x5, Ryan x10, Adam x2, Kaine x5, Harris x3, Harrison x12, Redmond x3, Ali x1
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OliverWaters
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Re: November 2014 Reviews - London

Post by OliverWaters »

kport wrote: my only comment is that he and Bradley seem to be quite different ages; like a Year 8 with a best friend in Year 6. Which is fine, but slightly reduces the possibility of dramatic intensity in a few key scenes. Just my opinion.
I guess that's often a possible issue, when the boys can begin their time in the show at around 10-11 and finish at 13-14. But it's never stated they're the same age in the musical (I think?).
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Re: November 2014 Reviews - London

Post by Todd »

OliverWaters wrote:
kport wrote: my only comment is that he and Bradley seem to be quite different ages; like a Year 8 with a best friend in Year 6. Which is fine, but slightly reduces the possibility of dramatic intensity in a few key scenes. Just my opinion.
I guess that's often a possible issue, when the boys can begin their time in the show at around 10-11 and finish at 13-14. But it's never stated they're the same age in the musical (I think?).
In the original film version, there was a scene showing Billy and Michael in class together, which would indicate that they were in roughly the same grade in school. While this scene isn't in the musical, it would still seem a bit of a stretch for them to be best mates if Billy appears to be 13 and Michael looks like he's 10. I wonder if that might have been a major consideration in the original cast when the older of the three Billys (James Lomas) was always paired up with the older of the three Michaels (Ashley Lloyd) while the youngest Billy and Michael (Liam Mower and Ryan Longbottom) were always paired up together. It seems like they would still want to use that same plan now, pairing up Elliott and Zach, for example, whenever possible.
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Re: November 2014 Reviews - London

Post by kport »

Todd wrote:
OliverWaters wrote:
kport wrote: my only comment is that he and Bradley seem to be quite different ages; like a Year 8 with a best friend in Year 6. Which is fine, but slightly reduces the possibility of dramatic intensity in a few key scenes. Just my opinion.
I guess that's often a possible issue, when the boys can begin their time in the show at around 10-11 and finish at 13-14. But it's never stated they're the same age in the musical (I think?).
In the original film version, there was a scene showing Billy and Michael in class together, which would indicate that they were in roughly the same grade in school. While this scene isn't in the musical, it would still seem a bit of a stretch for them to be best mates if Billy appears to be 13 and Michael looks like he's 10. I wonder if that might have been a major consideration in the original cast when the older of the three Billys (James Lomas) was always paired up with the older of the three Michaels (Ashley Lloyd) while the youngest Billy and Michael (Liam Mower and Ryan Longbottom) were always paired up together. It seems like they would still want to use that same plan now, pairing up Elliott and Zach, for example, whenever possible.
Of course, for the vast majority who see this for the first time, this issue may have little significance. For those who do notice this, or understand the story, it can have a dramatic importance. I saw Bradley and Tomi again last night, and they gave a fantastic performance, but it was evident that they appeared to be two different ages, not only in appearance but in personality. By the time of the 'kiss scene', Bradley came across as a single-minded young man, and Tomi as a pesky little boy. Even during the kiss, Bradley has to bend over so that Tomi can reach him. I am not criticising Tomi in any way, but if you watched that scene with that pair, and then saw it with Bradley and Zach, you would see a dramatic difference. Tomi is 'playing' and his Michael makes a joke of it; Zach is dead serious but tries to put on a brave face by playing around. Tomi and Bradley do a fine job, under the direction they are given. I am sure I am splitting fine hairs (and that the job of 'matching' pairs of actors at an age where they change almost week by week is almost impossible), but there we are. It is a conundrum for the director, and not the actors, to resolve. One solution may be found in the use of more pauses, to allow the actor a moment to reflect the pathos of the moment. (See below.)

The same observations hold true for the final scene, when Billy walks out with suitcase, and Michael is on stage on his bicycle. B T McNicholl elicited far more dramatic intensity from that moment. I recall hearing him quote Stephen Daldry, who said something along the lines that 'a pause in a musical is dramatic death'; B T took a risk to interject a pause at that very moment in Ogunquit. Having seen both versions, I have to say that pause brought that scene to life and become one of the most crucial moments in the story. And adding suitable pauses have nothing to do with the 'pairing' issues cited earlier. They may even compensate for them.
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MsRF
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Re: November 2014 Reviews - London

Post by MsRF »

Wednesday 19th November

Billy - Brodie (debut)
Michael - Zach
Debbie - Connie (debut)

I found out at the last minute (almost literally - at half six!) that a new Billy, new Debbie and new team of ballet girls were making their debut and couldn't resist going along (the joys of living 20 minutes from the VPT!)

Well Brodie was just perfect. Really, really good. If we hadn't been told before the show, you wouldn't have known he was new. He is doing things that the boys generally start to do only once they're comfortable in the role, such as reacting during Grandma's song - aka they carry on acting convincingly even when 'eyes aren't on them'.

His composure was commendable, especially when things didn't go quite to plan. When Tony throws the Scab's money back at him, it scattered everywhere. As in literally everywhere - behind the row of chairs and all over centre stage. It didn't faze Brodie at all - he jumped around like a frog collecting it all, put it in his pot, and then gave a gasp of delight when he spotted yet more money behind George's chair. Although it was probably unexpected that it would be that difficult to collect the money, he handled it with aplomb and got a good few laughs out of it too.

His accent is spot on (to the point where he says 'No' with an 'a' at the end, like 'Nooo-a' which is the way many true Geordies say it), and his inflection is also great - the way he says some lines quietly and gently give extra meaning and depth to the words.

And boy can this kid dance! Stunning tap numbers and beautiful Dream Ballet. He has flexibility to rival Barnaby's - their kicks and extensions were equal in height which made it look even more synchronised. Barnaby also spun the poor kid very fast and Brodie was grimacing the whole time during his spins - I'm sure he was happy to get back onto solid ground!

**ELECTRICITY SPOILERS BELOW**

But it was his Electricity that had me (and probably most of the other regulars) fooled! He came on wearing the black shoes worn for the Street version of Electricity, and the board for the wall flip was waiting during Billy and Dad's reprimand from the RBS, so I think everyone expected the Street version, despite the ballet experience listed in his bio. However, after he'd finished singing, Brodie launched into a brilliant ballet Electricity with some really good acro moves. I was thinking he was standing too close to Deka to fit a handspring and a backflip in before hitting the wall, but instead he flipped backwards into the ballet version. The gymnastics training listed in his bio has made a monster!

After he'd finished singing the final chorus, he only ran halfway round the back of the stage, then flipped into the centre, did the pirouettes a la seconde, and then used those last few beats he'd saved in his shorter run round the back to finish with a spectacular wall flip.

I'm sure I'm not the only regular to have missed the wall flip since Harrison's departure - well now it is back in style! I can imagine the choreographer thinking 'He can do the ballet Electricity, but he can also do a wall flip, and we can't pass up the opportunity to use that!' and rightly so.

And mention must be made of Connie - she is brilliant. I think the part of Debbie can sometimes be overlooked and become a bit of a background part, but she made it her own. She is worth watching even when other things are happening on stage - she plays a very 'acidic' Debbie - full of moody facial expressions, sighs and loads of attitude. Every time she is sent offstage by Mrs Wilkinson, she does a fantastically teenage 'urrrrrrrrrr' as she stomps away.

The new team of ballet girls are great too, totally on form and no mistakes that I spotted. It must have been a very special night for all the 'newbies' involved given that so many of them were in the same boat together. Congratulations to all involved who made their debuts, and of course, to the rest of the cast who make every show so enjoyable.
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Re: November 2014 Reviews - London

Post by dancingboy »

Wednesday 19 November

As debuts go, I have to say that Brodie's was pretty good. There was good use of his voice, in both singing and in saying his lines, for the most part it was very clear and he used stresses and intonations to good effect. Brodie appears to be a very, very efficient Ballet dancer and I was enjoying his Electricity enormously. It was full of jetes ( or they may even have been grand jetes), the timing was in perfect unison with the music, with some gymnastics thrown in. At this stage I have to say that I had not seen the flip board appear, at the right hand side of the stage, as you look at it . Brodie slowed to a stop, turned to face the board and completed a backward flip off the board. This was a total surprise, but for me was completely out of context with the rest of Electricity and I am not sure that the two mix. Overall, though, I thoroughly enjoyed Brodie's performance and, as I said to Chris Hatt ( MD) at the interval, there was no doubt Brodie was ready to perform.

One observation from the shows I have seen this week, it has been good to see the Ballet girls who are on stage at the beginning of the show, and Debbie, singing the words to ''The Stars Look Down'', something I haven't witnessed for many, many months.
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Sheepdog
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Wednesday, 19 November, 2014

Post by Sheepdog »

Performance of 19 November...

Well done, Zach Atkinson. (And the adults, too, of course, but the kids, with fewer years of experience to draw on, always get my highest admiration when they Do Well.)

He gave great support to...

a new Small Boy (Arran Fraser Glen) in what I THINK was his first performance.
(If not his first, nearly so.)
a new group of Ballet Girls in their first performance,
a new Debbie (Connie Fisher, 20th for London) in her first performance,

AND a new Billy! (Brodie Donougher, from Blackpool... 39th, for London. Has been in training for six months.)

And congratulations to ALL of those just named for a great performance. This new group is very much up to the traditional high standards of this boxing hall... I mean theatre.

Not "a great performance for a first night". A great performance, full stop. (Or "period", as American readers would say.)

Even looking quite closely, it was hard to see ANY sign of first night jitters, fluffs, etc, etc. Michael did seem to don his shoes a LITTLE more slowly than usual, in order that Billy might (almost) win the shoe race.

Poor Billy! Tony flung the money at The Scab's chest a little differenly than usual, and it ended up all over the place, including behind the row of chairs... Billy just took it in his stride, gathered it up without getting flustered, without messing up the timing around that.

Speaking of "who played": There's a "new"... not sure how long(!) board in the lobby, the one that announces who is playing Billy/ Debbie/ Michael. Faithful to the traditional board, not hugely different.

Ruthie Henshall was "on fire", really "shining"... brightly!
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Darth_Revan
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Re: Wednesday, 19 November, 2014

Post by Darth_Revan »

Sheepdog wrote: Winner of the who- puts- on- shoes- first competition - Michael
Practice makes perfect :)
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