Final day in Milton Keynes and the UK

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cheltonian
Small Boy
Posts: 64
Joined: Tue Nov 22, 2016 12:10 am

Final day in Milton Keynes and the UK

Post by cheltonian »

I attended both performances in the Milton Keynes Theatre today, the matinee saw Emile playing Billy with Elliot as Michael, in the evening Haydn was paired with Bradley.

It was a sweltering day here in MK with the heat reflecting back at you off of the ever-present concrete outside. In the theatre this had a cummulative effect, by the evening performance it was really very warm inside.

For both performances the audiences were more responsive than has been the norm for Milton Keynes. In the afternoon Emile received long applause after Dream Ballet and a much deserved standing ovation for Electricity. It's hard not to like Elliot as Michael, I've seen him the last 2 Saturdays and he's been on sparkling form.

But, this all was just the appetiser for the main event. From the outset there was a buzz about tonight's performance, almost a party atmosphere, and this was helped by a fantastically enthusiastic audience. I'm running out of superlatives for Haydn's performances, but this was better than ever and he had the audience in the palm of his hand from the outset. He brings great comedy to the boxing scene, and you can see at this early stage in the show how much he is enjoying himself - and that enjoyment is infectious.

Expressing Yourself brought the house down, as it always does, the applause tonight was so great that Bradley didn't even bother to milk it. The letter scene was wonderful and shows Haydn at his best. There was a fluff in Haydn's skipping tonight, but it didn't seem to matter, and later he also dropped the spinning chair in Dream Ballet. But, as ever, you could feel his tension and frustration growing towards the end of act 1 and we were rewarded with a tremendous Angry Dance.

The stamina and energy all of these boys display never ceases to amaze me. This evening it was clear that Haydn was feeling the heat. I wouldnt say it adversely affected his performance at all, this only added to the admiration felt, I'm sure by the whole audience, for such a committed and energetic performance in these conditions.

Act 2 proceeded in its usual seamless way. Notwithstanding the already mentioned chair drop, Dream Ballet brought the audience to their feet (although I was disappointed the high arial spin didn't get more applause). Immediately prior to Dream Ballet Michael (Bradley) got a round of applause as he exited stage at the end of the tutu scene, I don't recall that happening before in the tour shows that I have attended. There was sustained applause, including "whoops" at the end of Dream Ballet.

Then we have Haydn's Electricity. This has been at a sustained high level for quite a while now. At the start of the number he really acts the song. You can see in his facial expression how he is searching for the answers, and his timing is incredible, he makes you wait. But then his singing and dancing are so strong, the whole routine is just incredible. To be fair, all 4 of the current Billies deliver incredible Electricities, someone backstage is doing a good job!

Once We Were Kings is perhaps my favourite song in the show, it moves me every time. Tonight, with it being the last time I will see the show for the foreseeable future it had added poigniency. As I discussed with a couple of other forum members afterwards, I don't think Haydn scans the audience with the mining lamp for anything like as long as he used to, I guess this is testament to the fact that he has grown and (along with Adam and Lewis) has probably got a bit heavy to have on your shoulders for very long.

At the end of the show the ovations were long and heartfelt, people continued to clap after the final, final curtain.
Real Geordie
Ballet Girl
Posts: 267
Joined: Mon Nov 09, 2015 8:02 pm
Location: England

Re: Final day in Milton Keynes and the UK

Post by Real Geordie »

Having seen nine performances at Milton Keynes, including the last five, I had been unimpressed by the seeming lacklustre attitude of many within the audiences, although to be fair there was always an enthusiastic cohort of support. Their choice, their right to respond as they see fit. It was therefore a massive relief that on the final Saturday, for both performances, the tide turned with a vengeance. A hugely enthusiastic response to both shows, particularly the final evening show. I wonder if there was an influx of new supporters who had seen the show at other venues and had travelled to see the final performances, energising the home crowd ? Or maybe MK just finally “got it” ?

I will repeat some of the praise already made by jmh2014 and cheltonian, limiting mainly to the final show. Haydn fully deserved the honour of taking on the final performance in the UK, and I was pleased that he received the response from the audience that he did . Throughout the tour he has always given 100% effort to complement his dancing, acting and singing skills. On this last night he really did shine - a sheen of sweat covering his face due to both the heat within the building and the effort he put into all of his dance performances. I also spotted that moment in “Angry Dance” when a spray of sweat was caught in the spotlight flying out due to his head jerking - you sometimes see the same effect when a boxer takes a heavy punch to the head. It really looked spectacular. The prolonged applause and standing ovation after “Electricity” was clearly enjoyed and savoured by Haydn - this is what all of the hard work, rehearsals, blood, more sweat and tears brings. It must make it all seem worth it. Something to be remembered in years to come. Haydn was also particularly effective in showing feelings of grief and sadness when the letter was being read. As always Nikki Gerrard gave an expertly judged and emotional performance in this scene - and of course it is necessary to mention Anna Jane Casey’s contribution here.

As cheltonian has said, there is now a lack of superlatives for Haydn's performances.

Haydn was paired with Bradley on this last performance - a great combination - and also on the Thursday afternoon. On both occasions Bradley - who I suspect may well be the tour “joker” who makes everyone backstage laugh - managed to get Haydn laughing to the point of almost losing control. On the Thursday this was with a “talking plate” routine when the last food is being handed out moving towards the final scene. There is always a hint of mischief in the air when Bradley is about.

And so, the UK and Ireland wave goodbye to BETM, and Hamburg will soon say Hello, followed not long afterwards by Auf Wiedersehen Billy. The UK & Ireland (and Hamburg !) tour was born and has grown and will shortly no longer be with us. At times it has been compared (sometimes without favour) to what had existed in London. But it developed its own unique identity and distinct personalities. At almost every performance I have seen, some new innovation has been introduced, a tweak here or there, never resting on its laurels. A production with pride in itself - deservedly so. A personal thank you to every Billy - Adam, Emile, Haydn, Lewis and Matthew, - and all of the other child and adult cast and backstage staff. Remember the past with fondness, but look to the future. Maybe a new generation of Billys, Michaels and Debbies will at some future date attend an audition which will put them on the path to an adventure of a lifetime. Let’s hope so.

NOTE :-

See the Instagram posts of Jeroen Luiten aka roenya (resident choreographer) and Milan van Weelden (Big Davey), if you want their thoughts on this venue.
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