Hans Christian Andersen's "The Ugly Duckling" is one of those archetypal tales that strikes a primal nerve and a resounding chord in nearly everyone who has experienced the awkward and embarrassing puberty years. Finding our true identity, our special gifting, our calling in life, doesn't come easily for most. And so when a movie like "Billy Elliot" comes along to put a fresh face on a universal story, there's not much that can go wrong. We WANT to identify with the protagonist.
In "Billy Elliot," fate takes a sensitive, awkward and gangly lad who lives in a rough and tumble but failing mining town in England, and gives him a natural talent for dance. And not just any dance, but classical ballet. As he struggles to find and express himself, the town itself suffers a crushing miner's strike and near-fascist oppression from Prime Minister Margaret Thatcher's jackbooted thugs. Will Billy dance his way out of a hopeless situation, and in doing so, bring a glimmer of hope to his beaten-down family and community?
The film emphasizes the clarion call to nurture potential, and honestly, Billy dances with passion, but he's at best a diamond in the very, very rough. Yet in "Billy Elliot: The Musical," playing through June 5 at the Buell Theatre, Billy is already a world-class talent. Forget auditioning for the Royal Ballet Academy, he's ready for the big time. And therein lies the musical version's Achilles heel. Any obstacles to his inevitable success are purely superficial. Also, Elton John's songs are mostly derivative and manipulative.
To be fair, many of the musical numbers are quite thrilling, but also serve to remind us that this is merely "Billy Elliot Lite." Rather than a scrappy tale rising from the struggling proletariat, the musical version seems to be put together by fabulous artistes who have a lark going slumming but can't resist dressing it up a bit, then a bit more, and then go over the top.
And though there are many supremely talented kids in the show, this is definitely NOT a musical suitable for children, and not just because of the complicated political backdrop. "Billy Elliot: The Musical" seems not just to endorse but actually celebrate drinking, smoking, domestic violence, swearing and cross dressing as legitimate ways to cope with stress. Also, in a couple of instances there seems to be an unhealthy man/boy dynamic going on. And rather than acknowledge the hard work, sacrifice and dedication required for training in classical dance, the show trivializes Billy's achievement by having the entire cast, miners, troopers, grandma, EVERYONE take their final bows wearing tutus and flouncing about in a vulgar display. What were they thinking?
"Billy Elliot: The Musical's" greatest contribution to the genre is Peter Darling's extraordinary and innovative choreography. Not since "Cats" have I seen such a fully conceived and successfully executed vision for movement on the stage. Most of the cast play types that could easily have been cut and pasted from any number of other shows (especially "Les Mis," "Oliver," "Footloose," and "Annie"), though the role of Billy, played alternately by four different actor/dancers, is uniquely challenging, making unbelievable demands on the young men.
Unlike "My Fair Lady," yet another ugly duckling musical based on a non-musical source, "Billy Elliot: The Musical" left me wanting to re-visit the original.
"Billy Elliot the Musical" was brought to the Buell Theatre at the Denver Performing Arts Complex by Denver Center Attractions and plays through June 5. For information and tickets, call 303-893-4100 or visit www.denvercenter.org. For more information on the touring production, check out www.billyelliotthemusical.com.
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