Goodspeed Reviews

[kport]

A review from patch.com:

https://patch.com/connecticut/naugatuck ... d-musicals

[porschesrule]

In this so so review from the Journal Inquirer, the critic summarizes his view of the Goodspeed show with the headline "Goodspeed’s ‘Billy Elliot’ hits the mark, but dancing falls a little flat."

https://www.journalinquirer.com/public/ ... eAVq3j_6-8

[kport]

Goodspeed Musical's production of Billy Elliot the Musical is a major achievement and should even please theatergoers who saw the original production.

https://www.talkinbroadway.com/page/reg ... ct651.html

[kport]

Overall, Goodspeed's production of BILLY ELLIOT is engaging, uplifting, and heartwarming. It is the kind of show that you can't help leaving with a smile on your face, a song in your heart, and an irresistible urge to follow your own dreams - inspired by the story of this remarkable and talented young man.

https://www.broadwayworld.com/connectic ... s-20191005

[kport]

The fearsome puppet of Thatcher at the Act’s opening didn’t seem to spark much mirth the night I saw the show, perhaps because even more vile politicians swarm upon us today, and yet it’s nice to know that the show’s denigration of “the Iron Lady” continues unabated.

http://www.newhavenreview.com/blog/inde ... elliot-run

[CJ-Rochester]

Here's a very positive review from Critics On The Aisle.

Boys DO Dance In Goodspeed Musicals Rousing BILLY ELLIOT
http://www.criticsontheaisle.org/?fbcli ... 56-eo_SVgI

[porschesrule]

Another very positive review, this time from the largest newspaper in the Connecticut area where Goodspeed Musicals is located -- The Hartford Courant:

https://www.courant.com/ctnow/arts-thea ... story.html

[atreyu]

Having coincidentally attended Press Night (as well as the earlier matinee), I can add my two pesos. Rather than a full review of the entire work, I will devote the majority of my comments on some of the differences from other BETM productions I've seen. Unfortunately this will probably overemphasize the significance of these differences. But to recount all the segments that are the same as many predecessors would be tedious and too long.

Descriptions below may be regarded as spoilers for those who have not yet but intend to see the show, so be warned.

Goodspeed has a number of distinctives, too many for a complete list, but conveniently aggreggating (artificially, admittedly) into two general themes. First aspect of note is the small stage, not much more than 30 feet across. Augmenting this, however, is a second level walkway around the back and sides of the stage that provides a place for George and Jackie to have a private conversation or for Dead Mum to look in on things for example. Access to the second level is often by a rollaround set of stairs. For the most part, rolling the stairs about is unobtrusive, but occasionally it is the only thing moving on stage and so becomes part of the foreground in those scenes.

The aisles of the theatre are utilized a few times, like in the opening 'rally' that is The Stars Look Down with Lesley speechifying the usual narration. The first standoff between miners and cops in Solidarity takes place in the aisles as well. One other notable time is right after Dream Ballet, Dad approaches from the aisle, which provides the audience a clear view of Billy's growing consternation, not knowing what Dad intends.

Overall, Goodspeed does well to expand the performing space. But ultimately there are limitations in the choreography because of the small stage. There is what can be called 'flying' in Dream Ballet but only in the sense of 1904's Peter Pan with four miners lifting Billy and moving him about the stage. Otherwise Dream Ballet is a pas de deux except for a couple segments where curiously Billy only stands and watches Older Billy.

The second group of changes centers around characters popping up in scenes where they have not traditionally. The most effective adaptation was the final scene soon after Billy says his goodbye to Mum. Before Billy turns to leave, the entire village appears on the second-level walkway and Billy slowly gazes up and around at the people who sacrificed part of their livelihood to make his journey possible. That enhanced the poignancy even more than what the scene has by default. Then Michael appears on stage with the usual "Oi, Dancing Boy!"

One advantage of having only five ballet girls is allowing each of them to have a little more of the spotlight. This occurs in Shine when each girl does her chaines run solo in turn, not with others simultaneously. This sequence occurs again in Expressing Yourself when the dancing dresses are represented by the ballet girls in what may be regarded as boys' costumes. Then one by one, each girl take center stage to do her own special move, a cartwheel here, a spinning baton there, etc. In this setting, though, it struck me more like shoehorning in a middle school talent show. One more spot where the ballet girls appear is right after "Put me alarm on". Four miners then suspend a mattress at center stage for Billy to lie on and toss about in fitful sleeplessness while ballet girls in full red pajamas cavort under and around, each holding an enlarged clock face in cardboard. IMHO, this is contrived silliness.

Another unexpected popup is when Billy is receiving the coins from the villagers. After Billy gets Dad's helmet and settles down center stage, Michael joins him there in the middle of the action. An argument can be made that it is natural for best friends to be side-by-side. But in this case, I think it detracts from the really special moment when villagers who have not had normal income in months still decide it is worth giving Billy their precious coin. It's not for Billy and Michael; it's for Billy. After all, isn't that ultimately The Point? The point of risking community unity, even family unity? Because once in a generation, maybe once in a lifetime, there is that rare talent for whom you break the rules. That being said, adding Michael here is not an egregious misstep, more of a preference that Billy ought to be the sole focus of that scene.

Another entry in the theme of including others is right after the scab has delivered his stack of bills and departed. Jackie's conventional reactions to the queries of Can we use it Da? is contemplating the question somewhat nervously and eventually arriving at a decision on his own. At Goodspeed, Dad looks right to Tony when Billy asks the first time. Tony gives his soliloquy, stalks off and Billy asks So, can we use it Dad? Now Jackie slowly looks around at everyone else gathered there, some of whom give discernible nods before Dad indicates to Billy Yes we can use it.

One last bit. As Once We Were Kings gets going, it is Grandma who brings Billy's suitcase out so the entire (living) family is part of that event. As probably should be.

Although this may appear to be a negative review of the production, that would be inaccurate for the reason mentioned at the outset. I am glad to have seen this, just not enamored with certain changes and a couple of those are strong disagreements. Also not thrilled with the choreography having Billy hit and move through a lot of poses rapidly and not allowing the grace of attaining and holding these poses to occur. But there is original thinking and a lot of the changes do enhance the show. So all told Goodspeed is a worthy production.

Have to recognize one brilliantly outstanding performance, Michele Aravena as Mrs. Wilkinson. She understands the character and infuses it with nuances that are so spot on as to stand with the top portrayals ever. I know I said that in my last review, but can't help a repeat when amazing Mrs. Wilkinsons keep being discovered.

[Real Geordie]

This individual was clearly unimpressed !

https://www.ctinsider.com/news/nhregist ... 489996.php

[kport]

Goodspeed Opera House’s production of Elton John and Lee Hall’s “Billy Elliot” running through Nov. 24 is at times one of the best shows I’ve seen at the Opera House, and at other times feels like Goodspeed overreached.

https://www.onstageblog.com/reviews/201 ... d-musicals