Born To Boogie

Billy Elliot – Music Theater Works

Based upon A.J. Cronin’s The Stars Look Down, “Billy Elliot” began life as a 2000 English film. It tells the story of a motherless boy from a working class background who discovers, purely by accident, that he was born with a gift for ballet. Set during the 1984-85 UK miners’ strike in Northeast England, amidst Maggie Thatcher’s turbulent reign as Britain’s Iron Lady Prime Minister, Billy and his family struggle to survive. His father and brother slave away down in the mines, barely scraping together enough to make ends meet. The boy attends school, helps care for his elderly, often befuddled grandmother and, once a week, pays for boxing lessons at the local hall. When he accidentally wanders into the abrasive Mrs. Wilkinson’s ballet class a light begins to shine. Billy suddenly discovers a hidden talent and his unknown passion for dance. 

Most of Chicago may have already seen this inspiring, heartfelt musical, either on Broadway, in the 2010 extended 8-month Chicago National Tour production, or in one of the other spectacular local productions. Now Music Theater Works has decided to bring this challenging musical to the stage, just in time for the holidays. Presented before a masked and vaccinated crowd, there’s much to like about this production. But there’s also a few frustrating technical elements working against the cast’s hard work and the audience’s enjoyment.

Kyle A. Dougan, the company’s Producing Artistic Director, is at the helm of this new production. The Musical Director and conductor of the show’s pit orchestra is Michael McBride, making his Music Theater Works debut; and brilliant Clayton Cross once again serves as production Choreographer. Generally speaking, the show seems to be in good hands with these three professionals guiding it along. And the musical boasts a large, quite impressively talented cast, as well. 

But where this production shoots itself in the foot is in its technical execution. The biggest complaint is the sound. From the beginning of the show, the auditory enhancement was a huge problem. First, the sound seemed unbalanced. Mr. McBride’s gifted ten-piece orchestra often overpowered the actors, making any of the sung lyrics impossible to hear or understand. Then, and this is the most frustrating,  many of the individual microphones failed to work altogether. When they did work, the sound was sometimes blasted far too loudly, while other mics were completely mute. Once or twice the audience heard the actors amplified when they were offstage! In the second act there was a noticeable improvement, but there were still enough sound problems to make this technical error what the audience remembered afterwards. 

The other, and slightly more forgivable problem, was a scenic design that looked kind of sloppy and slapped together. The stage set felt too expansive and often showcased large areas of blank, unused space. One big problem in the set was a corrugated metal garage door that was raised and lowered to reveal scenes in the kitchen. It was extremely loud and obnoxiously distracting. Also, when scenes were played in the kitchen, a large table and several chairs had to be constantly wheeled into place by several actors and then struck again, after the scene ended. The scenes in the upper level were sometimes difficult to see and, as mentioned before, almost inaudible. There were a few strange choices in special effects, such as way too much fog and the weird snow flurries that would suddenly surround the character of the mother. These technical elements really undermined the audience’s enjoyability of this production.   

The story of how this young boy and his teacher convince his family and community that Billy was born to dance is the basis for this multiple Tony Award-winning musical. The musical features a book and lyrics by Lee Hall and a score by Sir Elton John. This wonderful Broadway hit has toured everywhere in the world. It’s a gorgeous musical production that’s a allegory about being yourself and pursuing your dream, in spite of insurmountable odds.

Kyle A. Dougan has put his own stamp on the show, focusing on the sad young boy who, if not for his unexpected discovery of and immersion in art, would eventually end up like his father and brother, toiling in the mines for substandard wages. Young Jake Siswick has the perfect melancholy look of a young boy who’s still mourning the loss of his mother and sees no way out of his oppressive existence. Living in a failing industrial town in Northern England, Billy understands that everyone will soon be out of work. However, when the talented young Mr. Siswick flashes that smile of his, particularly whenever he’s soaring in dance or enjoying the companionship of his friend Michael, it’s a face that’s filled with hope and honesty. Young Mr. Siswick is a gifted youngster whose character shows the promise of becoming an excellent dancer, rather than already being a polished ballet star. Clayton Cross’ excellent choreography features tap, modern and, of course, ballet. All of his choreography for the entire cast is challenging, heartfelt and helps tell the story.

Casiena Raether, who recently dazzled as Tanya in the theater’s recent production of “Mamma Mia!” is excellent as the brusque, no-nonsense Mrs. Wilkinson. She masks the care and love of her students and daughter, Debbie (beautifully played by little Everleigh Murphy) behind a sailor’s mouth and a gruff demeanor. The dance teacher is determined to encourage artistic discovery in those around her, particularly in young Billy. When Ms. Raether sings, she’s magical (when the audience can hear her); when she dances, it’s from the gut. Matched with Jon Parker Jackson as her youthful but feisty, funny accompanist, Mr. Braithwaite, the two team up with Billy to present a delightfully humorous “Born to Boogie,” one of the show’s highlights. “Shine,” another standout production number, is Casiena Raether at her most hilarious. It’s a composite of random ballet exercises that not only show off this talented actress’ wry sense of humor but focuses the comedy on the “spastic starfish” antics of her little girls’ Corps de Ballet.

Making his Music Theater Works debut, Chicago actor Matt Miles is strong and driven, torn and conflicted as Dad. Longtime prejudices about poufs who dance are mixed with his desire to do what’s best for Billy. He finally comes to realize, thanks to Mrs. Wilkinson’s lecturing and observing his son’s passion for the art, that this could be a way for Billy to escape the awful life that he’s always known. Mr. Miles’ “Deep Into the Ground” is another of the show’s highlights, both simple, stirring and heartbreaking. Brandon Michaud, also making his Music Theater Works debut, is very good as Tony, Billy’s older brother. He portrays a rebellious young man determined to lead his fellow striking miners. This youth is willing to fight to the bitter end for his community, his family and ultimately his little brother. 

Lydia Burke, when her mic was working, brings a beautiful, clear soprano to Mum, displayed with love in “Dear Billy;” and Caron Buinis is at once spunky, hilarious and heartrending as Billy’s Grandma. Her number, “We’d Go Dancing,” is sweetly poignant and beautifully danced. But it’s Kai Edgar who is the standout in this production. This young actor is magnificent as Billy’s best friend, Michael. He’s self-assured, charismatic and absolutely delightful, although, sadly, it was impossible to hear most of his early scenes opening night. The two boys, along with members of this fantastic ensemble, let it rip in a very funny, high-spirited “Expressing Yourself.” And a familiar face at Music Theater Works, the multitalented Rick Rapp is appropriately strong and gruff as George, Billy’s boxing coach, and one tough union mine worker.  

This is a gritty, exciting and joyously inspiring musical. It’s a celebration of the passion and strength we all harbor deep inside of us. This production shows the true need for art in our often mundane lives, plagued by the Covid pandemic. It also demonstrates the need to encourage and train our new, young artists, whenever possible. When the kinks in the sound system finally get worked out, Mr. Dougan and his brilliantly talented company will again bring their “Electricity” to the stage. It’s in those moments that the audience can truly rejoice in what it means to follow their dreams and live the life that’s meant for each individual.

Recommended

Reviewed by Colin Douglas   

Presented December 23-January 2 by Music Theater Works at the North Shore Center for the Performing Arts, 9501 Skokie Blvd., Skokie, IL. 

Tickets are available in person at the the box office, by calling them at 847-673-6300 or by going to www.MusicTheaterWorks.com/BillyElliot

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.