Billy Elliot the Forum

Todd wrote: Armand Schultz, who was doing the part of Dad for the first time, compared with the experienced Phil Whitchurch whom I'd just seen 11 days before.

I agree.

It would also be very unfair to compare Armand with Phil. I saw Phil in seven shows in a row immediately before Chicago. His 'dad' is polished, relaxed and brilliant. I saw Michael Dameski give one of the greatest performances ever the previous Sunday (I believe the Sunday just gone even topped that) so likewise not fair to new Billy's to compare against that bench mark.

Previews are just that and the creative team will work their way through all these issues. They have had enormous success everywhere before Chicago will go that way too. Most of it is in place already. I ran into Justin Martin the Resident Director from Australia who is in Chicago helping out. Between Stephen Daldry, Julian Webber and Justin there is a huge BETM Director talent in place in Chicago.

BillyAddict wrote: Between Stephen Daldry, Julian Webber and Justin there is a huge BETM Director talent in place in Chicago.

This is exactly why BETM has been so successful where it's played. That's the kind of preparation the cast gets -- and that includes choreography (Peter Darling is there and various of his associates), as well as technical and musical. As we've seen, the creative team continues to tweak the show. It's been a long learning experience for them too. My concern, going forward, is that statements have been made that Chicago is the last time the original creative team will be intact when new productions of the show come along. But I guess as long as their successors are well trained and are able to take advantage of the accrued knowledge and experience of the original creative group, the show should continue to be fine.

One thing of interest that I found out, which I think is a very good thing given the spate of injuries in NY, is that the Chicago production has a resident physical therapist on staff who supervises the cast's warm ups, rehearsals, etc. This is something new, but I would imagine it would be something that will continue to be the case with the 2nd US tour production, as a PT would not be as easily obtained moving from city to city as say one is in NYC or London.

Thanks, BillyAddict, for your insights.

Who is Justin?

ERinVA wrote:Who is Justin?

See BillyAddict's comment:

BillyAddict wrote:I ran into Justin Martin the Resident Director from Australia who is in Chicago helping out.

Thanks. Missed that.

ERinVA wrote:Thanks. Missed that.

Moby-Dick wrote:
Perhaps - as the Oriental Theatre is so big - the man and his son were seated very far back and couldn't see Tommy well enough to recognize him.

Tommy's longish mop of blond hair would be hard to miss, even at a distance.

johnnyc wrote:Tommy's longish mop of blond hair would be hard to miss, even at a distance.

This is true....You'd think the man would've made the connection - that the blond boy he saw on stage for almost the entire three hours is probably the same blond boy signing autographs at the stage door. Some people!

Tommy likes to play practical jokes on people, so maybe this (blind) man was giving him a dose of his own medicine.

Moderate as you wish...

So to the second leg, onward from the Big Apple (which I never found let alone bit into) to the Windy City. While NYC was full of shiny people in a grimy city, Chicago was the opposite.

On to the Show and even as the numerous technical gaffes tested that label, the talent of the young cast and the enduring strength of the story ensured the flame lit in London 5 years ago has been kept burning bright amidst the wind and snow of Chi-Town.

Billys 3 X Cesar, 2 X Tommy, 1 X JP
I think they may have unearthed the new superstar of the Billy-verse in Cesar Corrales. The Sunday night show in particular was pure gold and made the enforced extra day in the USA most worthwhile. His acting is alive, singing is clean and dance: out of this world. Highlights were a particularly passionate Angry Dance reminiscent of Aus renditions, the final flourish in Solidarity that almost got a standing ovation on opening night and a sublime, super impressive and near flawless pure ballet Electricity. In fact if you squint (or sit in the balcony) you could mistake Cesar for a particular Australian Billy who was especially proficient at ballet. The improvement he’s shown in just 3 days off a very high beginning bodes extremely well for the future of the show.

It seems Tommy has a great spirit and it shows on stage. He was the ultimate professional during the Sunday matinee when technical errors outnumbered the songs, holding the show together almost alone. I liked his little wink at the audience at the restart after “glass-gate”. He’s impressive in all three threats and gave two very mature performances. Live long and prosper, young man

JP presented a very sweet Billy on the Saturday night, it was a most skilful debut. Special highlights were a sound Dream Ballet and his wonderful singing voice.

Credit to the boys’ ballet teacher, it’s been high class right from the start

Pity we didn’t see Giuseppe, would’ve been nice to see a Billy with that sort of YAGP pedigree.


Other Cast
I liked both Michael’s though they do play it differently to each other, Gabriel more out-there and Keean more subtle, both great.

Warming to Emily as Mrs. W, not as powerful a singer but the acting is tops, love how she plays exasperated in Shine.

The Tony noticeably improved through the week I felt, like how George aims the glove at Michael’s head also like the Mr Braithwaite going the full splits.

The ballet girls seem to be getting into the groove quickly. Especially a fan of the Tracey Atkinson and Susan Parks.


Auxiliary Thoughts
The huge 2,300 seat theatre is quite stunning to look at with ornate decorations that are aptly described as a hashish nightmare. It’d be great for Wicked or Jersey Boys but I’m afraid it just swallows Billy up. The balcony really is a long way away from the action.

The set changes mean the staging loses a bit of magic but for the main it’s an acceptable price to pay to have the show tour and be able to make money. The major problem with it is in Angry Dance where instead of descending the stairs, Billy has a precarious climb down a pole with hand holds. It kind of breaks up the energy of the number and must be quite dangerous. Also the cubicle is constructed by choreographed stage hands but isn’t strong enough for the Billy to really let his anger fly inside it.

What is with people rushing for the exits as soon as the curtain coming down for the first time, not even staying for the expected bows? And it’s not just one or two, it’s whole blocks of people. Limited parking time? Need to catch the last train? Don’t want to be stuck out on the streets at night (understandable)? Ignorant? Poor Tommy had to duck, weave and even crash through people when running back on stage. Something needs to change here. Also, in general the audiences seem much more subdued compared to Broadway. It could be the cavernous theatre dispersing the sound as the post show chatter is uniformly positive and most everyone gives a standing O at the real end of the show.

Anyhow good to see our favourite show take flight in new territory. For sure all the little hiccups will be sorted by the official opening date. Oh god I hope so.

Chicago is an interesting place, such amazing architecture and the Art Institute is possibly the best of its type in the world. But oh dear, it is dead at night in the Loop. Moreover I ate quite poorly in Chicago, especially compared to the fare on offer in NYC.
And while NYC was like being in Grand Theft Auto: Liberty City, you could actually meet the characters in Chicago.

Overall a magnificent experience meeting the fans and everyone over there. If any of you come to Oz, give us a bell and the first drink is on me.
Cheers guys!