Electric Youth

Fancy Feet: Trent Kowalik and the cast of Billy Elliot
By Brandon Voss
In Billy Elliot’s second act, Billy auditions for the Royal Ballet School and sings a gorgeous song entitled “Electricity”, in which he struggles to explain the rush of enjoyment he feels while dancing. In this review, I’ll similarly struggle to find the appropriate words to describe the sheer electricity emanating off the stage of this long-awaited London import by composer Elton John and bookwriter/lyricist Lee Hall. Directed with urgency and unique spirit by Stephen Daldry (The Hours), who also directed the film on which the musical’s based, Billy Elliot brilliantly juxtaposes the struggles of an aspiring young working-class ballet dancer with those of the striking miners in 1984 England. Like a magazine that prints a series of different collectible covers, Billy Elliot is such addictive, tear-jerking fun, I’m giddily desperate to see all three actors in the role of Billy; Trent Kowalik, a former West End Billy, blew me away at my press performance, which leaves David Alvarez and Kiril Kulish. (Too bad the Billy rotation schedule isn’t advertised in advance, but I look at the challenge as a game of British roulette.) Aside from the obvious “be yourself” message and the garish Ab Fab-esque genius of Haydn Gwynne as Billy’s dance teacher, gay audiences will especially appreciate the number “Expressing Yourself,” which sees Billy and his fey friend Michael hoofing in ladies’ clothing—even if the headless dancing dresses are a bit too Beauty and the Beast.
Billy Elliot @ the Imperial, 249 W 45th St, 212-239-6200, $42–$137.