Billy Elliot The Musical

The much-anticipated Billy Elliot has opened at Koorliny Arts Centre. This large cast musical is playing to full houses and is being very well received.

The cast of 39 is led by a small boy making his community theatre debut. Lucas Johnson gives us an intelligent performance with great understanding, singing superbly and dancing with infatigable energy and power throughout the show. There is lots of great work from youngsters in this production, as boxers, ballet girls and therapists like, all doing a fabulous job, but special mention must be made of Jaxon Reuben bringing personality in truckloads to Billy’s frock loving friend Michael, and Georgia Elwick as cheeky little girl, Debbie.

Set in Northern England during the mining strikes of the 1980s, Billy’s love for dancing causes conflict against the ultra-male culture and financial stresses of the time. Fabulous work from Billy’s family including Daniel Burton bringing depth to Dad. Thomas Dimmick was excellent as highly stressed older brother Tony. Lindsay McNab is lovely as Billy’s loving but often confused grandmother, while Emma Del Pino is lovely as Billy’s dead mother, who appears in dream sequences.

We meet a few members of the mining community at a time of great tension. Fine performances from Alex McLennan as Big and the large group of miners and their police opposition. Terance Smith is another standout as Billy’s boxing coach George.

Melissa Kelly brings some sparkle to the show as local dance teacher Mrs. Wilkinson, nicely assisted by Jason Nettle as enthusiastic pianist come assistant Mr. Braithewaite. Also in the dance world, Jackson Lucas is impressive as an older Billy, while Jane Anderson brings some laughs in a cameo role as an officious staff member at the Royal Ballet School.

This is a rough round the edges feel good show, and this is reflected in the set, which might be best described as shabby chic. Cleverly adjusting to multiple locales including the Elliot home, and the local hall, and including sliding surprise panels, it serves the show well. Costumes by Melissa Kelly, pulling double duty, are excellent, and lighting, designed by Katharina Brieden, was strong - unfortunately interrupted by a tech breakdown and show stop on Opening Night - from which the cast recovered beautifully.

The large ensemble displays great teamwork, and works well to execute Kate Leeder’s choreography. Singing is strong throughout, supported by Musical Director Tara Oorjitham and a 12-piece live band, who played with excellence.

At the time of writing there is a handful of seats still available for this deservedly popular show. it’s worth trying to snap them up.

Kimberley Shaw