Sun Eve Indy - Ben/Sam
A double dose of Ben! Again what a Treat. I can never say enough about how much I admire Ben for his persistence and drive to move up to the role of Billy. He has worked hard to develop his craft and has become a GREAT actor. What a joy to watch him !
A quick word about Sam. Great singing voice. Wonderful tap skills. He plays a Michael who is joyful,playful,happy,and beginning to become comfortable with who he is. Like Zack Manskse he has a smile you could see from the last row.
This was a great weekend for me. Spent a lot of time with a number of forum members, especially between shows for dinner and drinks. Thanks guys for your company. It was wonderful meeting you.
Joe
Indianapolis Reviews
Re: Indianapolis Reviews
"HOME SWEET HOME"
It doesn't seem possible that it was just a few short weeks ago I last saw the Tour's production in Toledo, OH. As we all know, their only appearance since then was in St.Paul, MN, after which they took a month's hiatus before resuming their traveling schedule as of last Tuesday. Having said that, I wonder if there is anything more glowing I can possibly find to say about this bunch after attending this weekend's five performances in Indianapolis
All I can do is try to give it my best shot in satisfying Forum members, despite the fact it comes so close on the heels to the review I wrote following my weekend in Toledo. Perhaps, digressing a bit, one worthy place to start might be some 12 years ago when I first saw the film, the viewing of which stole my heart and struck my consciousness into thinking it had to be the most moving film I had seen up to that point in time. Being 63 years old in 2000, I was forced to admit it was the extraordinary acting of 15 year old Jamie Bell which gave me cause to identify so profoundly to Billy Elliot in the movie. The point being, and as reason for mentioning my age, all these years later I remain transfixed as to how effective Jamie was in making me vicariously realize I was still Billy's age at heart. Then of course, along came the musical which I first saw in London [and a hundred times since, or so it seems], and which has given me cause to realize even now, how being captivated by the stage version has effectively convinced me I still haven't grown up since Billy's age.
Upon being blown away by first seeing the show at the Victoria, I was bound and determined upon returning to the States, that by nook or crook I would get to NYC, as at the time, knowledge had it that the musical was due to jump the pond to the "Great White Way." And with that in mind, how unimaginable the thought was that BETM would eventually make it to the Capitol of my own home state of Indiana. What I thrill it is to be able to say I have spent this entire past weekend at the Old National Center, the Murat Theater, watching this wonderful "crew" resume their prolonged "strike" after their break, and pressing on without so much as having missed a beat.
As I've said, as a followup to Toledo, I'm not sure I can add any more sparkle to the gem of performances this entire cast continues to provide for us. In my own mind, given the layoff, I do not think this bunch lost an iota of dramatic timing or the hypnotic power they so consistently use in drawing their audience into Billy and Michael's chaotic worlds. Your senses have to be at full alert when Noah, Kylend, Ben, and the cast take the stage, as they are more than prepared to make the sparks fly in all directions. These lead youngsters in particular, each in their own individual way, have the capacity to blow your head apart. Certainly, they lost no layers of self-consciousness in the past month, as watching each one of these guys perform continues to remain me of richly detailed portraits one might observe at some museum of find art.
One just has to relish the blistering presentations of Kylend, Ben, and Noah as they continue to present us with 100 proof intoxicating performances. Never for a moment do they fail in leaving one's head swimming in exhilarating pleasure. I would challenge anyone to tell me that in watching their "electrically" charged acting and as they "fly" during their scintillating dancing routines, that you aren't left in a state of complete euphoria. Conscious of your own interpretative visions, I believe it may become easy to reach the conclusion that you are watching three youngsters perform at an optimum level of near perfection. I have to admit, their performances continue to throw my life in reverse gear...back to the time and place of Billy's age. As aforesaid, an age I've never relinquished, nor pray tell, do I ever feel I want to. It gives me reason to recall words the great young actor James Dean [tragically killed in an auto accident decades ago] used prior to his passing. In regard to my attachment to BETM, the show never ceases to remind me that I simply remain an "Old Boy" at heart.
"THE PERFECT TRIAD"
Could there ever be a better expose' of innate talent than Noah Parets projects scene after scene? As he proceeds to lead us through a spine tingling "Angry Dance" and then through a dazzling "Dream Dance," there's something utterly poetic upon observing his routines. Sitting close to the stage as I was, one has to marvel by his intensely bright and penetrating eyes which registers both his dialogue and his command of classical dance, the elegance of which might parallel observing an angel in flight; and then his "Electricity," the flare of which is so radiantly gorgeous in execution, it can virtually lead one into another world of artistry altogether. That's what you get with this gigantic bombshell of an actor as he proceeds to cut a searing path straight through to your heart. You just have to love it! You will love him! I am filled with admiration for the flow of his natural physicality, his energy level, and his complete emotional commitment which is nothing less than relentless and seemingly disproportionate to his age and size. He executes with such confidence, you can't help but be carried along by his charismatic believability. Exuding such a depth of inspiration as he does, I feel as though I were experiencing at least one spiritual ride in my own life resoundingly ending with his visual spectacle of "Free....I'm Free." Please pardon me if I do say so myself, but if this kid doesn't leave you smoldering with awe and delight as you watch his gifts come to life, I doubt anyone ever will. I will be perfectly frank. Noah's performances this weekend were as perfect as I've ever seen the role of Billy played. That's saying a great deal, I know. You watch him and judge for yourself. This kid is a "star," period!
"BEST YOU HOLD ON TIGHT"
It may well be hyperbole, but somehow I find expressing observations about Kylend and Ben Cook, very difficult. It's a question of endlessly searching for some other list of superlatives which might possess the highest honors one can find to describe the powerful delivery of their individual interpretations of Billy. Both these young men pulverize the entire stage as soon as they make their entrances. Is it at all possible to run out of words of praise for them? I become emotionally lost in their impressive artistry no matter the number of times it has been my good fortune to have seen them in action. Every time I see Ben and Kylend, I experience special moments of any definition you might assign to a "wow" factor. No doubt about it, they are light years above "[.............................]" and I'll leave it up to you to fill in the space with your own dictionary of "excellence," or complementary phrases or words to describe them.
When the two of them let loose of the reins, they both are capable of having the immediate effect of transferring you to a higher level of consciousness. They are so delicate and poignant in their deliveries, and yet are instantaneously capable of exploding out of the gate in anger and frustration. They are so superb, so wonderful, and so natural, they can catapult you out of your seat if you're not strapped in or holding on. The full range of my excitement in their performances reads like something comparable one might experience watching a couple beautiful thoroughbreds stretching for a finish line. I just can't help but revel in the magnetism of their stage personae as they pursue Billy's ultimate dream. I can come to no other conclusion but to say Ben and Kylend are the complete package deal when talking about extraordinary Billies. They present a stunning assault on the heart and mind generated by their fire-hot acting and dancing.
Have you ever been on a "thrill ride" before? As I reach for any analogy [as I often find myself doing], all I can say while watching this magnificent triad, it is nothing less than a "hair raising" experience caused by both a sense of joy and inner peace as I join them in Billy's search for the ultimate celebration of becoming a ballet dancer at the Royal School in London. The way these three guys singularly tell the story, you might have cause to wonder whether or not they actually collaborated in writing the role of Billy for themselves. Each provide for us with a masterpiece of vocal clarity, acting, and dancing intensity. I'm always breathless while thinking, "is what I've just witnessed really possible for Noah, only then to have Kylend and Ben follow suit, as the three always seem to follow in perfect succession to one another?" What a superbly visceral and rewarding weekend! No thrill ride I can ever think of has given me the sense of internal satisfaction that these three wonderful young guys provide in their desire "to fly like a bird." Through their compelling poise, and as a testament to their magnetic skills, they allow the audience and me to feel at the most elevated level, the freedom they so urgently seek in their own lives and their desire for excellence in dance.
Indeed, it was another weekend of heart rendering performances. I relish the messages of Billy's courage and determination, as when it seems all odds are overwhelming him, he steps forward and emphatically states, "I want to be a ballet dancer!" Then you have Michael's compassionate self discovery to ["BE yourself"]..."you won't tell anyone, will yeah?" as he steadfastly demonstrates the sincere desire to show one element of the intimacy of friendship, both simple and pure in its explicit honesty; and finally, the wonderful cast in slowly providing their support and eventual personal sacrifice for one of their own. It all provides me an elevating theatrical experience to a height unlike anything else I can remember enjoying from my own life long dedication to music and the stage.
"WHAT 'WOW' FACTOR"
Speaking on behalf of the entire ensemble, albeit totally presumptively on my own, I'm incline to take issue with postings a few weeks back regarding the "wow" factor being amiss on The Tour, amongst other things, which might include the staging, flips off the piano or other such nuances. The thought struck me dumb with suggestions that missing such factors renders The Tour a "step or two" below the Broadway or London productions.
Really!!!
Anyone who attends this show expecting gaudy costumes and sets, a turn table stage as such, or a crashing chandelier, simply misses the messages and life changing experiences surrounding Billy Elliot. Indeed, the staging for this musical at times is very spare and dark, and finds the musical actually "rotating" around a flock of chairs, a couple-three set items, clandestinely moved around by the cast, and a common framing for most scenes. But, no "wow" factor? I'd be curious to wonder what on earth one looks for in "Solidarity," in "Expressing Yourself," the "Dream and/or Angry Dance," or surely Electricity," amongst others? In "Born to Boogie" I've seen it executed many times both with and without the flip off the piano. To this day, I've never for a moment felt an iota of difference to that scene in the measured appreciative responses of the audience.
The "wow factor" happens to be in this magical story on so many different levels. It is a story of a boy's incredible courage of ascension; it is about the story of another boy's discovery, perhaps, a "coming out" if you will, regarding the core of his humanity; it is about a teacher, a parent, a sibling"s final revelation of undying support, coupled with a small community's unified response in assisting one of their own in hopes of elevating him to a better life. If there is no "wow" factor in all that, well, it's very difficult for me to understand what else one must be looking for in terms of other special effects which might enhance this life changing tale. Of course, I render all this as my own personal opinion regarding this subject which has had a tendency to pop up occasionally. All I need when leaving the theater in my usual state of elation given what I had just experienced, is the powerful performances of the entire cast in providing me the wow factor I would ever need for the lasting memories I've discovered through this wonderful musical...and the reason for returning to see it over and over again.
"HOW OLD IS OLD"
The Old National Centre defines the Indianapolis venue perfectly. It Centre is darkly lit, lacking the bright and gaudy venues of so many others in which I've seen this show. The lobby is huge and convoluted enough you can become totally lost in searching for your seating aisle. The whole building is over a hundred years old and contains not only the Murat Theater, but another "Great Hall," the Egyptian Room" and the "Corinthian Hall".
How 'bout a display of a new Lexus in the lobby, and a service par 80 to 90 feet long with a total of 10 registers; no waiting for drinks or snacks, that's for sure. The Billy Elliot keep sake items seemed to have been selling like hot cakes. Not that you may be interested, but the "men's john" was large enough to house 20 stool stalls, all showing visible plumbing; and two dozen urinals along one wall. No waiting here either, despite the stampede. The whole place was heated by one of those old standing heaters you might be able to visualize from your youth. Forgive me if the mentioning of these characteristic of the place might offend anyone.
Attendance, minus final hour ticket office sales, for the five shows from Friday evening through Sunday evening were; 1300-1300-1400-1400 and 1000. I might add, I saw more young kids and teenagers throughout the weekend than I had ever observed before no matter in which city I saw the show. I was really encouraged by this. The crowds with highly enthusiastic for all performances.
Thanks for hanging in there if you cared to read all of this review.
Respectfully submitted,
Colin W. Stetson
It doesn't seem possible that it was just a few short weeks ago I last saw the Tour's production in Toledo, OH. As we all know, their only appearance since then was in St.Paul, MN, after which they took a month's hiatus before resuming their traveling schedule as of last Tuesday. Having said that, I wonder if there is anything more glowing I can possibly find to say about this bunch after attending this weekend's five performances in Indianapolis
All I can do is try to give it my best shot in satisfying Forum members, despite the fact it comes so close on the heels to the review I wrote following my weekend in Toledo. Perhaps, digressing a bit, one worthy place to start might be some 12 years ago when I first saw the film, the viewing of which stole my heart and struck my consciousness into thinking it had to be the most moving film I had seen up to that point in time. Being 63 years old in 2000, I was forced to admit it was the extraordinary acting of 15 year old Jamie Bell which gave me cause to identify so profoundly to Billy Elliot in the movie. The point being, and as reason for mentioning my age, all these years later I remain transfixed as to how effective Jamie was in making me vicariously realize I was still Billy's age at heart. Then of course, along came the musical which I first saw in London [and a hundred times since, or so it seems], and which has given me cause to realize even now, how being captivated by the stage version has effectively convinced me I still haven't grown up since Billy's age.
Upon being blown away by first seeing the show at the Victoria, I was bound and determined upon returning to the States, that by nook or crook I would get to NYC, as at the time, knowledge had it that the musical was due to jump the pond to the "Great White Way." And with that in mind, how unimaginable the thought was that BETM would eventually make it to the Capitol of my own home state of Indiana. What I thrill it is to be able to say I have spent this entire past weekend at the Old National Center, the Murat Theater, watching this wonderful "crew" resume their prolonged "strike" after their break, and pressing on without so much as having missed a beat.
As I've said, as a followup to Toledo, I'm not sure I can add any more sparkle to the gem of performances this entire cast continues to provide for us. In my own mind, given the layoff, I do not think this bunch lost an iota of dramatic timing or the hypnotic power they so consistently use in drawing their audience into Billy and Michael's chaotic worlds. Your senses have to be at full alert when Noah, Kylend, Ben, and the cast take the stage, as they are more than prepared to make the sparks fly in all directions. These lead youngsters in particular, each in their own individual way, have the capacity to blow your head apart. Certainly, they lost no layers of self-consciousness in the past month, as watching each one of these guys perform continues to remain me of richly detailed portraits one might observe at some museum of find art.
One just has to relish the blistering presentations of Kylend, Ben, and Noah as they continue to present us with 100 proof intoxicating performances. Never for a moment do they fail in leaving one's head swimming in exhilarating pleasure. I would challenge anyone to tell me that in watching their "electrically" charged acting and as they "fly" during their scintillating dancing routines, that you aren't left in a state of complete euphoria. Conscious of your own interpretative visions, I believe it may become easy to reach the conclusion that you are watching three youngsters perform at an optimum level of near perfection. I have to admit, their performances continue to throw my life in reverse gear...back to the time and place of Billy's age. As aforesaid, an age I've never relinquished, nor pray tell, do I ever feel I want to. It gives me reason to recall words the great young actor James Dean [tragically killed in an auto accident decades ago] used prior to his passing. In regard to my attachment to BETM, the show never ceases to remind me that I simply remain an "Old Boy" at heart.
"THE PERFECT TRIAD"
Could there ever be a better expose' of innate talent than Noah Parets projects scene after scene? As he proceeds to lead us through a spine tingling "Angry Dance" and then through a dazzling "Dream Dance," there's something utterly poetic upon observing his routines. Sitting close to the stage as I was, one has to marvel by his intensely bright and penetrating eyes which registers both his dialogue and his command of classical dance, the elegance of which might parallel observing an angel in flight; and then his "Electricity," the flare of which is so radiantly gorgeous in execution, it can virtually lead one into another world of artistry altogether. That's what you get with this gigantic bombshell of an actor as he proceeds to cut a searing path straight through to your heart. You just have to love it! You will love him! I am filled with admiration for the flow of his natural physicality, his energy level, and his complete emotional commitment which is nothing less than relentless and seemingly disproportionate to his age and size. He executes with such confidence, you can't help but be carried along by his charismatic believability. Exuding such a depth of inspiration as he does, I feel as though I were experiencing at least one spiritual ride in my own life resoundingly ending with his visual spectacle of "Free....I'm Free." Please pardon me if I do say so myself, but if this kid doesn't leave you smoldering with awe and delight as you watch his gifts come to life, I doubt anyone ever will. I will be perfectly frank. Noah's performances this weekend were as perfect as I've ever seen the role of Billy played. That's saying a great deal, I know. You watch him and judge for yourself. This kid is a "star," period!
"BEST YOU HOLD ON TIGHT"
It may well be hyperbole, but somehow I find expressing observations about Kylend and Ben Cook, very difficult. It's a question of endlessly searching for some other list of superlatives which might possess the highest honors one can find to describe the powerful delivery of their individual interpretations of Billy. Both these young men pulverize the entire stage as soon as they make their entrances. Is it at all possible to run out of words of praise for them? I become emotionally lost in their impressive artistry no matter the number of times it has been my good fortune to have seen them in action. Every time I see Ben and Kylend, I experience special moments of any definition you might assign to a "wow" factor. No doubt about it, they are light years above "[.............................]" and I'll leave it up to you to fill in the space with your own dictionary of "excellence," or complementary phrases or words to describe them.
When the two of them let loose of the reins, they both are capable of having the immediate effect of transferring you to a higher level of consciousness. They are so delicate and poignant in their deliveries, and yet are instantaneously capable of exploding out of the gate in anger and frustration. They are so superb, so wonderful, and so natural, they can catapult you out of your seat if you're not strapped in or holding on. The full range of my excitement in their performances reads like something comparable one might experience watching a couple beautiful thoroughbreds stretching for a finish line. I just can't help but revel in the magnetism of their stage personae as they pursue Billy's ultimate dream. I can come to no other conclusion but to say Ben and Kylend are the complete package deal when talking about extraordinary Billies. They present a stunning assault on the heart and mind generated by their fire-hot acting and dancing.
Have you ever been on a "thrill ride" before? As I reach for any analogy [as I often find myself doing], all I can say while watching this magnificent triad, it is nothing less than a "hair raising" experience caused by both a sense of joy and inner peace as I join them in Billy's search for the ultimate celebration of becoming a ballet dancer at the Royal School in London. The way these three guys singularly tell the story, you might have cause to wonder whether or not they actually collaborated in writing the role of Billy for themselves. Each provide for us with a masterpiece of vocal clarity, acting, and dancing intensity. I'm always breathless while thinking, "is what I've just witnessed really possible for Noah, only then to have Kylend and Ben follow suit, as the three always seem to follow in perfect succession to one another?" What a superbly visceral and rewarding weekend! No thrill ride I can ever think of has given me the sense of internal satisfaction that these three wonderful young guys provide in their desire "to fly like a bird." Through their compelling poise, and as a testament to their magnetic skills, they allow the audience and me to feel at the most elevated level, the freedom they so urgently seek in their own lives and their desire for excellence in dance.
Indeed, it was another weekend of heart rendering performances. I relish the messages of Billy's courage and determination, as when it seems all odds are overwhelming him, he steps forward and emphatically states, "I want to be a ballet dancer!" Then you have Michael's compassionate self discovery to ["BE yourself"]..."you won't tell anyone, will yeah?" as he steadfastly demonstrates the sincere desire to show one element of the intimacy of friendship, both simple and pure in its explicit honesty; and finally, the wonderful cast in slowly providing their support and eventual personal sacrifice for one of their own. It all provides me an elevating theatrical experience to a height unlike anything else I can remember enjoying from my own life long dedication to music and the stage.
"WHAT 'WOW' FACTOR"
Speaking on behalf of the entire ensemble, albeit totally presumptively on my own, I'm incline to take issue with postings a few weeks back regarding the "wow" factor being amiss on The Tour, amongst other things, which might include the staging, flips off the piano or other such nuances. The thought struck me dumb with suggestions that missing such factors renders The Tour a "step or two" below the Broadway or London productions.
Really!!!
Anyone who attends this show expecting gaudy costumes and sets, a turn table stage as such, or a crashing chandelier, simply misses the messages and life changing experiences surrounding Billy Elliot. Indeed, the staging for this musical at times is very spare and dark, and finds the musical actually "rotating" around a flock of chairs, a couple-three set items, clandestinely moved around by the cast, and a common framing for most scenes. But, no "wow" factor? I'd be curious to wonder what on earth one looks for in "Solidarity," in "Expressing Yourself," the "Dream and/or Angry Dance," or surely Electricity," amongst others? In "Born to Boogie" I've seen it executed many times both with and without the flip off the piano. To this day, I've never for a moment felt an iota of difference to that scene in the measured appreciative responses of the audience.
The "wow factor" happens to be in this magical story on so many different levels. It is a story of a boy's incredible courage of ascension; it is about the story of another boy's discovery, perhaps, a "coming out" if you will, regarding the core of his humanity; it is about a teacher, a parent, a sibling"s final revelation of undying support, coupled with a small community's unified response in assisting one of their own in hopes of elevating him to a better life. If there is no "wow" factor in all that, well, it's very difficult for me to understand what else one must be looking for in terms of other special effects which might enhance this life changing tale. Of course, I render all this as my own personal opinion regarding this subject which has had a tendency to pop up occasionally. All I need when leaving the theater in my usual state of elation given what I had just experienced, is the powerful performances of the entire cast in providing me the wow factor I would ever need for the lasting memories I've discovered through this wonderful musical...and the reason for returning to see it over and over again.
"HOW OLD IS OLD"
The Old National Centre defines the Indianapolis venue perfectly. It Centre is darkly lit, lacking the bright and gaudy venues of so many others in which I've seen this show. The lobby is huge and convoluted enough you can become totally lost in searching for your seating aisle. The whole building is over a hundred years old and contains not only the Murat Theater, but another "Great Hall," the Egyptian Room" and the "Corinthian Hall".
How 'bout a display of a new Lexus in the lobby, and a service par 80 to 90 feet long with a total of 10 registers; no waiting for drinks or snacks, that's for sure. The Billy Elliot keep sake items seemed to have been selling like hot cakes. Not that you may be interested, but the "men's john" was large enough to house 20 stool stalls, all showing visible plumbing; and two dozen urinals along one wall. No waiting here either, despite the stampede. The whole place was heated by one of those old standing heaters you might be able to visualize from your youth. Forgive me if the mentioning of these characteristic of the place might offend anyone.
Attendance, minus final hour ticket office sales, for the five shows from Friday evening through Sunday evening were; 1300-1300-1400-1400 and 1000. I might add, I saw more young kids and teenagers throughout the weekend than I had ever observed before no matter in which city I saw the show. I was really encouraged by this. The crowds with highly enthusiastic for all performances.
Thanks for hanging in there if you cared to read all of this review.
Respectfully submitted,
Colin W. Stetson
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porschesrule
- Site Admin
- Posts: 9396
- Joined: Fri Jun 12, 2009 2:02 am
- Location: Rhode Island, USA
Re: Indianapolis Reviews
Thanks to Joe and Colin for excellent reviews. It's nice to know some Forum members were able to see the show in Indy and that all appears to be well with the Tour company.
Wow, Colin -- an epic review. I loved the "stats" you provided about the theatre, audience sizes, etc. They really give the reader a sense of "being there".
Wow, Colin -- an epic review. I loved the "stats" you provided about the theatre, audience sizes, etc. They really give the reader a sense of "being there".
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angelenroute
- Billy
- Posts: 3831
- Joined: Thu Mar 19, 2009 1:05 am
- Location: Malverne (Long Island), NY
Re: Indianapolis Reviews
Congratulations on getting to see the show in your hometown, Colin! I must say, I had to print this review (4.5 full pages of a Word document by the way) in order to get through it, but I did read it all. I daresay most will not read reviews that long, and I don't like to either, except for the fact that as moderators we have to all keep track of everything on the forum. But you did write from the heart and it made for a very nice review of the incredibly talented leads this Tour is lucky enough to have.cws8998 wrote:how unimaginable the thought was that BETM would eventually make it to the Capitol of my own home state of Indiana.
Cheers,
Sean
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angelenroute
- Billy
- Posts: 3831
- Joined: Thu Mar 19, 2009 1:05 am
- Location: Malverne (Long Island), NY
Re: Indianapolis Reviews
Thanks for all of the reviews this past week, Joe. It was a pleasure meeting you in Boston, and I'm glad you've been able to support the Tour in other cities since. And I'm never surprised anymore when I run into Forum members no matter where the show is. Nice to hear those of you in attendance were able to get together for food and conversation too!jdmag44 wrote:This was a great weekend for me. Spent a lot of time with a number of forum members, especially between shows for dinner and drinks. Thanks guys for your company. It was wonderful meeting you.
Joe
Sean
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mrmikerocks
- Miner
- Posts: 420
- Joined: Wed Sep 01, 2010 3:12 am
Re: Indianapolis Reviews
The only thing that I can add to Joe and Colin's wonderful reviews is that The Murat Theater had the noisiest and most uncomfortable seats that I have ever sat it. Great theater and great show and Indianapolis is one of my favorite cities in the US. So glad i was able to see three shows. Ben twice and kylend once.
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CJ-Rochester
- Site Moderator
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- Joined: Wed Apr 29, 2009 4:35 am
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Re: Indianapolis Reviews
Thanks for these reviews Joe, Colin and mrmikerocks. It is great to hear that no matter where the tour goes there seem to be Forum members in attendance.
Colin you especially outdid yourself this time.
--Chris
Colin you especially outdid yourself this time.
--Chris
:/
Re: Indianapolis Reviews
cws8998 wrote:
"WHAT 'WOW' FACTOR"
Speaking on behalf of the entire ensemble, albeit totally presumptively on my own, I'm incline to take issue with postings a few weeks back regarding the "wow" factor being amiss on The Tour, amongst other things, which might include the staging, flips off the piano or other such nuances. The thought struck me dumb with suggestions that missing such factors renders The Tour a "step or two" below the Broadway or London productions.
Really!!!
Anyone who attends this show expecting gaudy costumes and sets, a turn table stage as such, or a crashing chandelier, simply misses the messages and life changing experiences surrounding Billy Elliot. Indeed, the staging for this musical at times is very spare and dark, and finds the musical actually "rotating" around a flock of chairs, a couple-three set items, clandestinely moved around by the cast, and a common framing for most scenes. But, no "wow" factor? I'd be curious to wonder what on earth one looks for in "Solidarity," in "Expressing Yourself," the "Dream and/or Angry Dance," or surely Electricity," amongst others? In "Born to Boogie" I've seen it executed many times both with and without the flip off the piano. To this day, I've never for a moment felt an iota of difference to that scene in the measured appreciative responses of the audience.
The "wow factor" happens to be in this magical story on so many different levels. It is a story of a boy's incredible courage of ascension; it is about the story of another boy's discovery, perhaps, a "coming out" if you will, regarding the core of his humanity; it is about a teacher, a parent, a sibling"s final revelation of undying support, coupled with a small community's unified response in assisting one of their own in hopes of elevating him to a better life. If there is no "wow" factor in all that, well, it's very difficult for me to understand what else one must be looking for in terms of other special effects which might enhance this life changing tale. Of course, I render all this as my own personal opinion regarding this subject which has had a tendency to pop up occasionally. All I need when leaving the theater in my usual state of elation given what I had just experienced, is the powerful performances of the entire cast in providing me the wow factor I would ever need for the lasting memories I've discovered through this wonderful musical...and the reason for returning to see it over and over again.
Respectfully submitted,
Colin W. Stetson
You gotta love Colin, the ultimate Billy fan. He travels the world to see his favorite show, always wearing rose-colored glasses. He could sell ice to an Eskimo but he can't sell me his story that this touring production is the equivalent of the London production any longer. Stephen Daldry and the original creative team put lots of "wow-factor" into the West End show. Piano flips, aerials in Electricity, crossovers during the rope-skipping, huge dancing dresses, the salty language Lee Hall felt appropriate for 1984 Easington, Angry Dances loaded with f-bombs and blood curdling screams, Billy's spinning bedroom (without the distraction of ensemble members manually doing the spinning), and the huge Billy sign during the finale are all "wow-factor" things that Daldry and his creative team decided were right for the 2005 debut. And all those things are still there in London 7 years later. All of them!!! All of those things are either completely gone or greatly reduced now on tour. If they were good enough for Daldry then they are good enough for me.
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ERinVA
- Site Admin
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Re: Indianapolis Reviews
Just to note: the rope skipping first occurred in the Broadway show, not the London one. At first, in addition to the crossovers, the Billys actually jumped in behind Mrs. Wilkinson, who actually tapped and skipped too, for a kind of "doubled up" bit with the jump rope. So you can't claim that all this came from London, because it did not.
Since Hadyn Gwynne's run on Broadway, where the rope skipping became part of the show, the various Mrs. Wilkinsons have done different things as part of B2B, depending on their tap and jump rope skills, and that, of course, has affected the choreography of the number. The crossovers depend on the Billy and the Mr. B, as some are more comfortable with them than others. You have to realize that not all Billys come to the show as tap dancers, while others do, so even though the choreography is basically the same, it does change a bit depending on the Mrs. W, the Mr. B, and the Billy, but the bottom line is that the rope skipping routine did not begin in London.
Also, London has never had a huge lighted Billy sign. Instead, when the curtain comes back up on Billy alone on stage, he is all the way upstage, still wearing his tutu, and he does a flip to the front of the stage, where he then takes his solo bow before calling the rest of the cast back on for the Finale.
Since Hadyn Gwynne's run on Broadway, where the rope skipping became part of the show, the various Mrs. Wilkinsons have done different things as part of B2B, depending on their tap and jump rope skills, and that, of course, has affected the choreography of the number. The crossovers depend on the Billy and the Mr. B, as some are more comfortable with them than others. You have to realize that not all Billys come to the show as tap dancers, while others do, so even though the choreography is basically the same, it does change a bit depending on the Mrs. W, the Mr. B, and the Billy, but the bottom line is that the rope skipping routine did not begin in London.
Also, London has never had a huge lighted Billy sign. Instead, when the curtain comes back up on Billy alone on stage, he is all the way upstage, still wearing his tutu, and he does a flip to the front of the stage, where he then takes his solo bow before calling the rest of the cast back on for the Finale.
Ellen
"I don't want people who want to dance; I want people who have to dance.”
-George Balanchine 1904 -1983
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"I don't want people who want to dance; I want people who have to dance.”
-George Balanchine 1904 -1983
To follow the forum's Twitter at http://twitter.com/BEForum, click on the direct link in Applies to All Forums above.
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porschesrule
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Re: Indianapolis Reviews
I believe the sign was introduced for the Broadway version of the show in 2008 and was only used in that production of BETM -- no other.muck912 wrote:the huge Billy sign during the finale are all "wow-factor" things that Daldry and his creative team decided were right for the 2005 debut.