September 2011 Reviews - NYC

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atreyu
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Re: September 2011 Reviews - NYC

Post by atreyu »

angelenroute wrote:
Joseph is the Billy who I've yet to see,
What the heck are you waiting for? You want Father Christmas to give you a free ticket or something like that? :P
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angelenroute
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Re: September 2011 Reviews - NYC

Post by angelenroute »

atreyu wrote:
angelenroute wrote:
Joseph is the Billy who I've yet to see,
What the heck are you waiting for? You want Father Christmas to give you a free ticket or something like that? :P
haha the angels of Christmas and every other holiday have already drenched me in too much "free" ... I need to work my way back to the Imperial.... I'll get back soon =)
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atreyu
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Re: September 2011 Reviews - NYC

Post by atreyu »

angelenroute wrote:
atreyu wrote:
angelenroute wrote:
Joseph is the Billy who I've yet to see,
What the heck are you waiting for? You want Father Christmas to give you a free ticket or something like that? :P
haha the angels of Christmas and every other holiday have already drenched me in too much "free" ... I need to work my way back to the Imperial.... I'll get back soon =)
Hmmm. To a sober mind (the Jamaican rum was very good last night) my query may seem a bit crass. But I know Sean could see the humor in referring to the irony that there was a free ticket available for this very show where Joseph was on and it was just unfortunate circumstance that prevented that from happening.

Anyway, as you've seen here, it is well worth the effort to go see Joseph.
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Re: September 2011 Reviews - NYC

Post by cws8998 »

"Oh joy, oh 'rapture' unforeseen, for now the sky is all serene..."

In case that line may be unfamiliar to some, it comes from Gilbert and Sullivan's operetta, "The Mikado." One may wonder where hell I'm coming from in reciting that here!

Well, I just spent a "rapturous" weekend in the Big Apple viewing "five" performances of Billy Elliot at the Imperial. Goodness, goodness..! Five shows in the span of 48 hours. I'm sure I'm not the first one of us out there who has experienced such theatrical bliss [of one show] in such a short period of time. I actually made these plans well over two months ago, securing what I felt were as good a seat as you could find anywhere [center, orch-aisle, row C114], for all five performances...proceeded to sit back, and absorbed both the magic and message that only this wondrous musical/story can provide, particularly if, in one way or another, you have a real emotional investment in it. Strangely enough, when I made the flight and the show arrangements, I hadn't given the slightest thought at the time to the fact it was the weekend of the tenth anniversary of 9/11. I must say, that while in town, I felt somewhat relieved by allowing myself to be transfixed by BETM, which without fail, always elevates me to a high level of exuberance overshadowing so many of societies woes including sordid memories of that fateful day ten years ago...and confronted in the city by fortified road blocks and heavy security no matter where you may have been observed. Times square was a "zoo" like I've never seen it before.

Of course, this past weekend was a professed Memorial for a very sad day in our history...but at the same time, I found myself using The Mikado quote as an expression of some relief, too, given what I've felt was a great deal of depressing news regarding our beloved musical. Considering the comments, research and speculation on the Forum over some time; having seen four shows at the Canon two weeks before it's closing there, I couldn't help thinking the world was coming to an end...i.e., early closing of the run in San Francisco; comments as to what the hell was going to happen to the tour's future now; concerns regarding lackluster attendance at certain venues, the shortening of dates at others, even shuffling of opening dates to add further confusion as to the shows availability. "Lordy be," with the end of the glorious Chicago-Toronto Company, and then thoughts of toning down the dialogue to make the show more appealing to general audiences...I don't know, it seems to me we were suffering a crisis of confidence of sorts as to whether or not BETM was going to remain viable in our lives, and for how long.

Well, I'm here to tell you, I certainly had a great deal of faith restored after my weekend of being totally entranced at the Imperial.
I think it damn near impossible to fully review and list all the superlatives one can attach to Peter, Giuseppe, and Joseph, as the three of them have been carrying the load recently. [Tade was still on the shelf, and Myles has not been folded into the rotation as yet]. Between all of us, there's no end to the repetitive vocabulary we use to describe the interpretations each Billy, Michael, and Debbie bring to us. It's a privilege, I suppose a want, we all seem to enjoy no matter how repetitive. Sometimes I don't know where to go or what on earth one can say to make any review more interesting than the number we've already reviewed in the Forum, including my own.

Just let me say, I was truly thrilled with the New York production. Of course, I had seen it there some months ago, but after many shows in Chicago, Toronto, and stops on the Tour and becoming so accustomed to their productions, the technical staging, and acting nuances evidenced in the Imperial rendition, gave the musical this time around a whole new perspective for me. Those nuances seem too numerous to mention here, albeit, I'm sure everyone pretty much knows those aspects to which I'm referring. As a simple example, the rising up of props [dining table, bedroom, semblance of a kitchen, from the stage floor rather than from stage right or left]. Most effective for me is Billy's disappearance through a trap door and reappearance in his boxed enclosure during the "Angry Dance." A neat twist! On the whole, the productions had a lot of zip for me. Perfect timing and seemingly flawless continuity, and yet not so rushed as to allow dialogue to be obscured during audience laugh lines...particularly important during "Expressing Yourself," and the Billy/Michael intimate exchange prior to Billy's fantasized "Swan Lake."

Hopefully, and without violating my own references to an abundance of superlatives, nevertheless, I find it essential to comment about Giuseppe Bausilio, whose presentations this weekend were something I felt were "other worldly." He was so expressive, so emotional, so distinctively transcendent, I was literally brought to the edge of my seat along with, I believe, everyone else in the house. My god, given all the productions of this musical I've seen across the globe, I sometimes feel at a loss for words to describe his interpretations this last weekend. My friends, Giuseppe is no longer a "boy." Even in appearance on stage since first seeing him over a year ago, he has become a boy/"man" of such extraordinary professional maturity and artistry, to me it just defies description. And trust me, I'm not talking in the least about his natural photogenic presentation, although that will obviously help him in a future career of sorts. This guy's acting and stage presence, obviously his athletic and dancing ability..! I mean, it truly give me cause to wonder what the hell happened to me when I was 13/14 years old? Speaking of dancing, his balletic leaping seems to be of another world for his age. Noticing his transcendent pose at the conclusion of "Solidarity;" He appears to be the first Billy I can remember who could hold his left leg from hip to knee at a right angle to his body, at the same time holding his lower leg perfectly parallel to the floor behind him, and for what seemed to be an eternity of motionless grace. It may seem silly to have noticed that and mention it here...but, as a dancing nuance, it just struck me at the moment as to the depth of Giuseppe's versatility. It is also the defining moment for me as to what the entire musical is all about. Giuseppe just appears physically imposing to me on stage compared to Billies of whom we are normally accustomed. [Example: Tommie Retter doesn't take him on his sholders any more during B2B, rather spinning him around with his hands under Giuseppe's shoulders. Also, Emily Skinner no longer kneels down to button up his Levi jacket after giving him his audition tape. [She just reaches across to button him up].
May I also say in passing, how perfect I felt Giuseppe and Neil McCaffery work in combination with one another. Neil's revelation of affection for Billy was as tender and as poignant as any I've viewed anywhere. It was perfectly paced the words expressed with heartfelt sincerity beautifully orchestrated by Neil. It elicited a profound moment of silent empathy from the audience I hadn't experienced before. I couldn't have been more impressed with what appears to be Neil's native acting ability. He's an ace in hand, and he shows it in this musical.

Speaking of a "David and Goliath." [Were we..?], in depiction of size differentiation and in visual imagining compared to Giuseppe, the diminutive Peter Mazurowski takes a back seat to no one any where, in terms of a complete package of the forceful and powerful image he brings to the role of Billy. Of the dozens of times I've viewed "The Letter," Peter's presentation was the first time I personally have been moved almost to tears myself. [Believe me, that's saying a helluva lot]. He was so authentic, so effective, you could see his body and shirt quaking in full concert with the teary eyed distress of his weeping facial expressions. It was simply a knock out moment by him.
You could measure the intense investment in all his dancing routines as he has a tendency to pucker his mouth/lips upon exhaling throughout, and recognizing it, just further draws his audience into the powerful execution of his effort. I"m not sure why I may have been surprised by his offerings. It was the most profound revelation of my entire weekend. I was amazed by the focus and strength of his acting and particularly his dancing, equal to anything I've ever seen. Absolute kudos to this youngster. Go see him if you can. I would tonight, tomorrow, or whenever, if it weren't for the fact I've returned home to Indiana.

I saw Peter and Giuseppe twice each during the weekend, and Joseph's singular performance Saturday night. Although for some damn reason, I found that evening's performance a bit uneven for the entire company...seemingly less energetic by everyone...probably an observation one could only make upon viewing many performances back to back in so short a period of time. Joseph did deliver beautifully, showing an interesting progression from a stated low keyed vulnerability at the evening's beginning to an emotional end to his "Electricity."
And, OMG, don't allow me to fail to mention another diminutive powerhouse in Lilla Crawford, actually smaller than even Peter, but full of energy. A terrific little actress with her long curlish hair...feisty, devilish, and ready for mischief at every turn. She stole my heart, as well as I believe most other hearts in her audiences.
Finally...I'm almost at an end here...I was really disappointed by the meager houses for all the shows, with perhaps Friday night's show being excepted. Probably half to three quarters full throughout weekend. I did speak to the powers to be at the Imperial, and was relieved by their feelings that because of 9/11, they anticipated a drop off of attendance for the three days. Plenty of visitors in town, but the locals just stayed away because of the chaos down town surrounding the Memorial of that fateful day. Need I say, however, that I love the Imperial for this show. Very intimate in capacity. As I mentioned, I did have an aisle seat up front for all five productions...which assured me of quick stepping to the head of the line to use the "john..." Albeit, after what seemed like the equivalent of a two story climb to get there. I was glad at my age to have had enough energy left to make "it" happen.

Well, I truly apologize for the length of this. Probably inexcusable..! It may seem like overkill. But, it really is difficult trying to say something half interesting and of which most Forum members have not heard before over and over again. But trust me, seeing five shows so closely packed together in such a short time warp, makes it tough to write a whole hell of a lot of interesting subject matter on a single show. Question is, I suppose, would I go to five more shows this coming weekend? The answer, of course, being, You bet I would...in a heartbeat.

What the hell is wrong with me...? I feel perfectly normal...tomorrow morning I'll be back in the fitness center, and then in the afternoon, hit the golf course with my dogs.
It's just that Billy Elliot the Musical drives me crazy...and I love it.
Regards, to all friends of the Forum. Colin
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Re: September 2011 Reviews - NYC

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Well done, Colin!! Not overly long at all (but then maybe I'm just getting used to KeefyM's reviews.) :lol: I really enjoyed the read. I may have missed it, and if so I apologize, but was this your first visit to BETM Broadway or just first visit in a while? I know you'd said you've been in NYC before.

It's nice to hear such good things about the Broadway Billys. I'm somewhat disappointed that you didn't mention anything about the new cast members. We've yet to get a review that talks about the new Dad, Grandma and George. What did you think of them?

You mention the differences in the set from what you've been used to seeing in the show -- from Toronto and the Tour. I think unless you do see the show on Broadway or in London, it's easy to forget that those differences are pronounced and you can imagine why Billys moving from Toronto (Myles) or the Tour (Giuseppe) do take a couple of weeks to get acclimated despite their overall experience as a Billy.

Your comments about the audience numbers being somewhat light is reflected in the grosses from last week. Yes, most shows were down because of the 9/11 anniversary week. But BETM was decidedly off at $492,525. Except for two weeks ago with Hurricane Irene causing the cancellation of half its shows that week, this is by far the lowest weekly gross ever recorded in the history of the show, the previous low being $695,007 in February of this year. Hopefully, the changes to the show previously announced will reverse the downward trend in grosses.

Thanks for taking the time to jot down your thoughts. I'm happy you had such a positive "Billython" :)
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Re: September 2011 Reviews - NYC

Post by angelenroute »

cws8998 wrote:I just spent a "rapturous" weekend in the Big Apple viewing "five" performances of Billy Elliot at the Imperial.
Colin, that was great! I enjoyed it thoroughly and I read every word! In some long reviews, I lose interest quickly, but not in this one. Your superlatives were accurate on all counts. Giuseppe is a one-of-a-kind piece of dynamite who you just know will continue his rise to worldwide greatness and Peter is equally dependable as an incredibly talented Billy with an A+ mix of tenderness and strength. I'd put forth that the pacing for Joseph's show may have just been yours alone. And I don't mean that as a criticism in the least! I just mean that because you saw so many shows, you may have found yourself so involved with the show, so knowing of what comes next, that you didn't just "sit back and enjoy" as much in that particular performance. And if that wasn't the case for you, know that it's happened to me in Billythons past, so I own it as a possibility for others in general. =)

I'd love to hear any reviews of our three new lead cast members (Dad, George and Grandma). Though I'd understand if they are still growing accustomed to their parts, I'm curious of any cool twists they may have already introduced to their playing of the roles.

Thanks again for the review! When we're away from the show, the reviews keep us feeling connected. And I hope others will keep the reviews coming too! :)

Sean

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Re: September 2011 Reviews - NYC

Post by ERinVA »

I agree. I would definitely like to hear how they are getting on. I also would like to know if any of the "creative changes," including expurgating the language, have begun to take place.
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Re: September 2011 Reviews - NYC

Post by dongringo »

Thanks Colin for the excellent review!
.......__o
.......\ <,
....( )/ ( )
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Re: September 2011 Reviews - NYC

Post by cws8998 »

My gratitude to those of you who found the patience to read through my comments re: this last weekend's marathon with BETM at the Imperial. Responding to Porschesrule's inguiries as well as the rest; this was my third visit to the Imperial since BE opened there...but, my god, combining London (also three times), Chicago, Toronto, two other Tour venues, (plus my age...am I losing it?) it becomes more problematic to remember who the hell I saw in the adult leads, and where. But in my addled brain, I could best say I felt Emily Skinner, Pat Mulvey, and Kathy McGrath were spot on to those interpretations that I remembered most impressed me across the globe.

Now, " hold on to your hats," and forgive me for this next personal opinion. It would not be my intent, by any stretch, to be negatively critical of any one. I will just say Daniel Jenkins had some very large shoes to fill, as being so accustomed to the characters Armand and Greg delivered as "Dad," Daniel's interpretation most threw me a bit off balance. "Deep Into the Ground," came across as stiff and unfeeling, as to some extent did "He Could Be A Star." I adored Armand and Greg's Antics in the audition scene and trust any one trying to follow suit to their overall characters, initially, may find it a tough hill to climb. Both those gentlemen showed some true versatility in the role, and I guess that may have been something I most missed over the weekend. Again, I'm prepared to be chastised and to have my opinion eliminated if they be too strong, but, I'm not really sure as to how best to present my own observations to questions regarding specific cast changes that were on the minds of some.

I am prepared to say that I was thoroughly delighted with William Youman's "George" presentation. Again, it's just one of those "catch" roles that stood out in comparison to what one remembers from the past. He was thoughtful and perfectly stated for the part without over play and which might otherwise detract from the kids. Loved his part!

Ellen inquired about whether or not the powers to be had as yet begun "expurgating the language" from the show. As of last Sunday evening, all I can tell you is, "not by a long shot," at least as far as I could ascertain. I was somewhat surprises that the "F" word was still very much a part of "Solidarity," as I think I recall, it was eliminated in total in the Toronto production. However, even in it's use at the Imperial, it appeared at a much lowered key...by that I mean the police and miner lines don't confront the audience at stage front and shout it in your face, as I recall was the case in Chicago. But the "bastards," the "S," the spoken "F" word were still in place where you might remember them, and that includes in those lines spoken by the youngsters. A personal opinion: I regret if they transition that language out of the show, but fully understand the necessity to do so if it would make the musical more acceptable to general audiences.

I remain committed to any changes the "powers to be" might find to maintain the integrity of our favorite musical with the hope of assuring its viability for as long as possible. I guess we'll all be waiting to find out what's in store for us in that regard. Fact is, months ago I booked myself into four shows during the November opening week in St. Louis. Should be interesting, even as I may be holding my breath.

My best to all, Colin
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Re: September 2011 Reviews - NYC

Post by porschesrule »

Thanks for responding to my questions, Colin. Very interesting observations. Whenever a new actor comes into a role, there is a period of time required to settle into that role -- to make it his or her own. As you've said, in the case of the three new adult actors, they have some pretty big shoes to fill, including those of a Tony winner and a Tony nominee. I'm confident, as has been the case with this show in the past, that with time and experience in the role, we'll be reading some glowing reports about their performances in the future.

Again, thanks Colin. Your observations, tempered as they are by your ability to compare over several different productions of the show, are very valuable. Thanks for sharing them.
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