Milwaukee Reviews

[porschesrule]

Here's a sort of mixed review from the Milwaukee Journal Sentinenel:

http://www.jsonline.com/entertainment/a ... 89116.html

[kport]

Here's a sort of mixed review from the Milwaukee Journal Sentinenel:

http://www.jsonline.com/entertainment/a ... 89116.html

One sees this reviewer as Milwaukees's version of Gil Chesterton.....

http://www.youtube.com/watch?v=VmrH52LPVBQ (begins at 37 secs)

[porschesrule]

A generally positive review (though with some thumb down stuff as well) from the Third Coast Digest:

http://thirdcoastdigest.com/2012/07/bil ... us-center/

[Sinatra]

Just saw it with Ben Cook as Billy... Here's all you need to know: !!!

[ERinVA]

I think that counts as a positive review!!

Does anyone else have a review of the Milwaukee show?

[cws8998]

Hi, All,
Here in Milwaukee for weekend series. Will offer very personal observation of performances upon my return to Indiana tomorrow evening.

Last evenings show drew 1315 presales before box office sales a half hour prior to opening curtain. Were anticipating close to 1400 on board.

Briefly; Ben Cook blow the roof off the place.

Regards, Colin

[CJ-Rochester]

That's great to hear Colin. Enjoy the rest of your weekend Billython.
-Chris

[cws8998]

"BORN AGAIN...!

Oh, the incredible redemptive power of BETM, which remains forever an experience of "epiphany" for me. I can say that without any ecclesiastical intention whatsoever ; however, you're welcome to interpret that tid-bit any way you wish. The fact remains, this has been the longest stretch I can remember over the last 4 or 5 years when I haven't been called to a venue somewhere to see this show or attend a full weekend of Billy Elliot performances. The absence of inspiration by the show's many messages provided us by the extraordinary cast is deeply felt, as I obsessively miss the uplifting esprit which always captures my psyche by show's end. It happens every time I take another vicarious journey with Billy and Michael back to my own youth. The show never seems to tire in its profound ability to impact me on so many different levels. I should hope that process would do the same for each of us.

Anyway, in preparing this review of my weekend in Milwaukee, I hope I won't come across as being too silly in expressing my thoughts regarding the block of shows I saw...which will include the usual injections of my own hyperbole.

It is through the performances of the BE Company that I am continually called to enter a certain realm, or, if I may say, a kind of "other world" which invites us out of our defined "limits;" perhaps, out of our prejudices, if not our self-centeredness, which emanates from the very outset of "...raise me up, and hold me high..." and culminates into a world of "wholeness" we can ultimately experience in "Electricity." It is followed by the "celebration" of joy we all experience in the final curtain call.

When viewing Billy Elliot the Musical, I think there may be one revelation apparent to all of us, two, three or four years down the road. No matter in which venue I have viewed the show, whether from the Victoria, to the Imperial, Canon, the Cadillac, and to cities throughout the States, now including Milwaukee's Uihlein Hall [anyone care to pronounce that one for me?], the "foursomes" of Billies to which one may become attached over time and thinking, perhaps, that group can never be equaled; along comes the next Billy and Michael, or two, who simply knock our socks off. It doesn't take long to reestablish in one's mind a "foursome" which historically can match any group, anywhere, and at any time. In fact, a "foursome" to whom one can become immediately devoted for all time.

"BREAK A LEG...!

The last time I spoke to Ben Cook, he was hobbling around Cincinnati in an ankle boot expressing the usual disappointment surround his predicament and the delay in assuming the roll of Billy. Not at all surprising at the same time, was Ben's bubbling congeniality and fiery spirit as he waited patiently for the healing process to take its course so as to provide him his moment to "shine" as Billy. Well, he sure doubles down on that persona when on stage. This guy delivers a form of acting precision to the degree I think everyone was enthusiastically anticipating. I was so happy for him. And, frankly, for my self, having finally been able to partake of his poignant individual interpretation of Billy's journey. His powerful performance so ably transported my emotions throughout. There is a joyous sparkle about this kid that simply cannot be missed and his performance will warm your heart as assuredly as any Billy you may have come to love. All I can say is, good for him and here's hoping he has the run of his life in the role he has so long coveted. By the way, I was glad he didn't do a flit off the piano. Don't reinjure that ankle whatever you do, Ben. Not after all you've been through. I might ask, I wonder if this has this now become the M.O. for the Billies? Only two of the guys actually jumped off the piano, with the other two simply sitting backward on the floor at the end of B to B. Perhaps, that's the way it will be from now on, I don't know.

"A DEVASTATING BLOW"

No way to deny it, I was crushed to learn earlier this week that Ty Forhan's tenure as Billy was concluded last weekend in Madison. [I knew his days were numbered, but was dearly hoping he would hold on through the Milwaukee run so I could see him one last time]. Nevertheless, I hope whatever I may say there will be accepted as a belated tribute to an extraordinary young man who brought great favor and distinction not only to himself as a professional, but also to the history of BETM. Since Toronto, for obvious reasons, I've always likened him to an enduring and seasoned "pro of pros." No matter where viewing him, he maintained a level of luster in his presentation which would lighten the heart of even the hardest critic in the audience. I have watched him with unmitigated delight, if not amazement. The brilliance of his performances allowed me to inject myself into Billy's world thus providing me a vehicle to confront the depressed realities of my own youth. For surely, if Billy is capable of fantasizing about his future ["Dream Dance"], somehow I, too, can find reason to fantasize about a lost childhood. Through Ty and these extraordinary young men, I repeatedly see everything I wanted to be artistically so many years ago, but was never meant to be.

"OVERLOADED..? WHO CARES"

The entire superlative vocabulary offered our Billies by Forum members, goes without saying. I am compelled to move on a bit from those collective superlatives by trying to define how their spectacular interpretations affect me, and seemingly their audience, as they transport us on their individual journey in confronting the chaotic world [family-community] in which they life. Their emotional vacillation as expressed through the depths of their own characters, all, serve as triggers for me that never misses my emotional core. I have viewed those interpretations many times, as each subsequent show draws me in as though it were the first time I viewed them in the role. Each performance seems to unfold with a pure magical touch. It's as though Billy and Michael can draw us in by an irresistible magnetic force too powerful to resist...but, of course, we have no intention of resisting being mesmerized by the joy in what was unfolding before us on stage.

"DID I SAY, 'PRO OF PROS'"

I have so relished Kylend's fluidity of motion; Ty's pure athleticism; the statuesque poise and classical beauty of their every move; all this coming from "boy-child's" who at the shows beginning would seem intent on convincing us of their physically challenged natures...but, who in the end, overwhelming convince us through their blossoming athletic prowess, that they are more than ready for the Royal Ballet. Kylend, a slender, beautifully agile actor and dancer who has left me smoldering with delight as he momentarily rescues us from what may be disappointing realities of our own worlds ["...lift me up, and hold me high..."]; and Ty, that remarkable and tough little "bruiser" who from day one, has exploded on stage like a storm trooper with an energy disproportionate to his cherubic size, and who proceeded to shatter any notion we have have had of his vulnerability. I just cannot help but think these two terrific actors ably reminded us of our own similar journeys as we've attempted to conqueror physical challenges in our own lives. In recognition of Kylend's performance this weekend, and of Ty's enormous legacy which he has left us, is it any wonder BETM leaves me, and so many others, in a state of complete awe. Anyway, allow me to say...thank you, Ty Forhan. Thank you for your images of Billy that will never leave me; that will never leave us.
Incidentally, Kylend did something this weekend I hadn't seen before by a Billy at curtain call. Have I been out of the loop that long? Instead of holding his pose at the conclusion of "Electricity," he almost immediately broke rank, took a couple steps forward and literally eyeballed the audience from one side to the other inviting their adulation...which of course, they more than obliged him for as long a time as I can ever remember the audience responding to a Billy performance. It actually excited me. I've always felt Billy was a bit denied a personal moment of sustained appreciation and feel he should be allowed to suck in as much adulation as the audience cares to give him at that moment. I just stood there thinking, "good for you, Kylend. Take it all in for as long as you care to."

"A GLOWING GEM"

For me, it's always a pleasure to view youngsters in their initial performance and then to visually experience the process of the molding and maturation over time in their desire to capture the role of Billy as their own. Zach Manske is one who has provided me that distinct pleasure. Since first viewing him struggling through one of his initial performances with a nasty virus of sorts, this kid could now conduct a master class in how the role could be played. His presentation is both guttural and earthy, perhaps with a raw edge or two. And, good for him! I find Zach's interpretation to be visceral, providing a rich, poignant, and classical sincerity capable of pulling at the heart strings of the best of us. Call it a bit of a spiritual feast if you care to. From his initial physicality, Zach presents us with a penetrating glow of a "gem" which could provide enough light to power a city. He is capable of leaving us a visual image we cannot soon forget.

"THE PERFECT CLONE"

Such it seems, there is another perfect "diminutive bruiser" present. I'm referring, of course, to Noah Parets, the newest member of this elite group. What more can one say after seeing this kid perform. Noah came across as a delightful mixture of joy and reckless abandon as I watched his performance ebb and flow with the precision of a seasoned champ.
When I say "diminutive" I mean it. He is a tiny bundle of explosive dynamite who appears very young both in person and on stage. Having seen Kylend in Saturday's matinee, and then Noah in the evening, I can tell you it was a visual shock, to say the least. But Noah delivers! Indeed, he is just beginning his tenure and there may be some green around the edges, but watch out. I was thrilled by him, can't wait to see him again. You will love and admire this guy and receive him with open arms should you be fortunate to catch his performance in the future.

It is an intent of mine to identify with each one of these guys in their crescendo offerings in the "Angry Dance" [which reminds me of a form of chaos wrapped with an element of madness], so haunting, so beautifully orchestrated and choreographed almost as a reflection of some of the anguish present in our own lives. But, then, of course, all is superseded by "Electricity" in which they ultimately and courageously present the audience and me with a gorgeous and elegant piece which is capable of transporting us and the most heartless audience member through a joyous visual spectacle I hope they would not soon forget.

Like so many Billies and Michaels before them, and in combination with an engaging touring cast, all continue to convey the energy and the emotional realms we've come to expect in this musical through their powerful acting and dancing. It does seem a tremendous fete given the exhaustion they may experience through their brief stays and city to city travels. Goodness, their every step, every turn or pirouette; the control and stillness of a statuette such as in the finale of "Solidarity," they all appear at the height of the confidence we have come to expect as they express not only a desire for liberation from the emotional conflicts of their day, but fulfillment in their constant search for self-definition. It is a journey of which I never tire...and again look forward to in the future.

VENUE THOUGHTS

The Marcus Center seats 2315. Checking with management, the attendance numbers of the weekend were all in the range of 1300-1400-1400-1400-1300. Those numbers disappointed me a bit, but I can honestly say, they were enthusiastic crowds and I felt received the show with great praise from all the comments I was capable of hearing. For instance, I took a former student/athlete friend of mine who is an emergency room doctor and his wife and a couple of their friends to the Sat., evening show, and they were overwhelming in their praise for the show.

Interest point that management did make to me. He stated they had over well over 2000 at the Tues., Wed, and Thurs., evening performances. That was some good news to the ears.

You entered Uihlein Hall from the sides only. Hence, no aisles, and rows of seats which ran the gambit from 38 to 56 from front to back. I thought, my god, if I had a "customary" emergency during the show, or wanted a place in line at show's intermission, ugh! It was a long climb. Fortunately, I had front row seats and was barely capable of controlling myself, waiting long enough to get out of my row and get to the head.

Regards, to all,

Colin W. Stetson
Culver Academies,
Culver, IN

[CJ-Rochester]

Wow Colin! Your reviews are always a pure pleasure to read, and this was no exception. It only heightens my anticipation for my visit to Boston to see the show in two weeks.
-Chris

[ActingDude17]

What a pleasure to read such thoughtful commentary on the phenomenon that is Billy Elliot the Musical. Thanks for sharing that with us, Colin.