REVIEW:
Billy Elliot - Liverpool Empire
17/05/17 - 7:30pm
Reviewed by:
Panda: 🐼🐼🐼🐼🐼/5
18th May 2017
Panda: 🐼🐼🐼🐼🐼/5
18th May 2017
There’s always a large degree of curiosity when a show that was a London staple goes on tour. I, for one, was shocked and a little sad when I heard that Billy Elliot was closing in London last year. But when the tour was announced, I was sceptical as to whether this was something that could, as a moving production, live up to the grandeur of the London triumph.
Liverpool Empire is a beautiful theatre, perfectly placed in a prime location within the city. The buzz and excitement was vibrating off the audience, even before the show began. A midweek show can sometimes draw a smaller crowd than weekend shows, but there were very few empty seats.
The show begins on the eve of the Miners’ strike in 1984, with the whole cast slowly taking the stage to open the show with a big group number. The talent on the stage was clear, silencing the audience and drawing them into the story that was about to unfold.
Billy Elliot, played by Lewis Smallman, was outstanding right from his opening dance sequence. He had a way of telling the story I haven’t seen before, with a natural grace and ability to make the role his own. He wasn’t afraid to pause in his speech for dramatic effect, and his comedic timing had the audience laughing throughout the show. A highlight by far was Smallman performing Electricity. He performed the song with an air of innocence, and his dancing had you mesmerised throughout. He truly earned the extended applause, cheers, and standing ovation! A boy truly deserving of the title role.
Another young role, which needs to be performed with self-confidence and innocence, is the role of Michael, played by Samuel Torpey. He had the audience in stitches leading up to, and during, Express Yourself – a duet with Billy. His dancing was strong, and his ability to draw the audience to him was second to none – something many adults within the business don’t achieve. A great star, and one I look forward to seeing in the future, as I am sure there is even more to come from this talented young man.
Scott Garnham, whose credits include Les Miserables, was phenomenal in his portrayal of Tony, making you both dislike and love him throughout the show. You couldn’t help but feel sympathy for the man who is trying to keep his family together, and knowing that might not happen. His chemistry with his on stage father, portrayed by Martin Walsh, was thoroughly convincing, and the fight scenes between them had the audience tense and on the edge of their seats. His reaction to the news of the pits reopening made my heart break for this man who, in many ways, had come so far. A true talent, and one I am grateful to have seen within a favourite role.
As mentioned above, the role of Billy and Tony’s father was played by Martin Walsh, known on screen as well as stage. He was, simply, captivating. Having seen the show numerous times in London, I have grown to expect this role to be played in a very emotional way. Walsh played it differently, making you feel his pain without openly breaking in front of you. The anguish he feels abandoning the strike is palpable, and he comes across as a beaten man, lifting once again when he sees Billy dance. A very unique take, and one I really enjoyed seeing. It worked in a way that had the audience relating to him, both as a father and a human being.
Anna-Jane Casey shone brightly as Mrs Wilkinson, captivating the audience from her first scene. Her care and belief in Billy is phenomenal, putting you in their corner from the start. With a rich theatre history, and having previously portrayed the role in London, I had high hopes for this role, and she did not disappoint. Her emotion during The Letter, as well as at the end when she says goodbye to Billy, was beautifully portrayed, and pulled hard on the heartstrings.
Andrea Miller definitely deserves a mention for her take on the Grandma, having the audience laughing whenever she was on the stage. She clearly had a strong bond with all three Elliot men, and her solo number in act one was done with tremendous grace and comedy.
The ensemble, as for most shows, were the backbone of this production, and pulled off complex choreography seamlessly and with complete grace. The big ensemble numbers held your attention, especially during Solidarity and The Stars Look Down. They were beautifully haunting, pulling the room into complete silence. Stand outs include Daniel Page as Mr Braithwaite and Evie Martin as Debbie. Both pulled the audience in during their scenes, and had people practically rolling in the aisles.
The show, as a whole, is spectacular. The use of lighting and props make you feel as if you are back in the 1980s, not sat in a theatre in the middle of Liverpool. The staging is nothing short of majestic, leaving me impressed on more than one occasion. The use of props during the finale to act one was very powerful, and the audience buzz did nothing but grow throughout the night. As a novice when it comes to ballet and dance, I was blown away by both the children and the adults in this production, whose time and effort was plain to see and has paid off beautifully, making this production a must see.
The changes for a few key scenes in act two, including the audition scene, breathed new life into this show, with a strong story and even better score. The flying scene, between both younger and older Billy, thankfully remains. A scene that, I think, makes all people fall in love with this little boy who just wants to dance.
The show runs at Liverpool Empire until the 27th May, before heading to Milton Keynes on the 30th. I recommend you see this tour before it ends, and see how well a tour can be done. It ticks all the boxes of a big production, without the travel to our country’s capital. I find it hard to believe this is a show anyone could leave disliking, whether it’s a new show to you, or one you have seen one hundred times. Go, and see for yourself some of the very best talent around, telling you a story that is relatable in our current times. Go, and be uplifted by the comedy and music from a show that will be captivating people for decades to come. Go, and fall in love with a little boy, who follows his dream and sees where those dreams can take him.
My only complaint is that I can only give 5/5 to a show that deserves so much more.
Liverpool Empire is a beautiful theatre, perfectly placed in a prime location within the city. The buzz and excitement was vibrating off the audience, even before the show began. A midweek show can sometimes draw a smaller crowd than weekend shows, but there were very few empty seats.
The show begins on the eve of the Miners’ strike in 1984, with the whole cast slowly taking the stage to open the show with a big group number. The talent on the stage was clear, silencing the audience and drawing them into the story that was about to unfold.
Billy Elliot, played by Lewis Smallman, was outstanding right from his opening dance sequence. He had a way of telling the story I haven’t seen before, with a natural grace and ability to make the role his own. He wasn’t afraid to pause in his speech for dramatic effect, and his comedic timing had the audience laughing throughout the show. A highlight by far was Smallman performing Electricity. He performed the song with an air of innocence, and his dancing had you mesmerised throughout. He truly earned the extended applause, cheers, and standing ovation! A boy truly deserving of the title role.
Another young role, which needs to be performed with self-confidence and innocence, is the role of Michael, played by Samuel Torpey. He had the audience in stitches leading up to, and during, Express Yourself – a duet with Billy. His dancing was strong, and his ability to draw the audience to him was second to none – something many adults within the business don’t achieve. A great star, and one I look forward to seeing in the future, as I am sure there is even more to come from this talented young man.
Scott Garnham, whose credits include Les Miserables, was phenomenal in his portrayal of Tony, making you both dislike and love him throughout the show. You couldn’t help but feel sympathy for the man who is trying to keep his family together, and knowing that might not happen. His chemistry with his on stage father, portrayed by Martin Walsh, was thoroughly convincing, and the fight scenes between them had the audience tense and on the edge of their seats. His reaction to the news of the pits reopening made my heart break for this man who, in many ways, had come so far. A true talent, and one I am grateful to have seen within a favourite role.
As mentioned above, the role of Billy and Tony’s father was played by Martin Walsh, known on screen as well as stage. He was, simply, captivating. Having seen the show numerous times in London, I have grown to expect this role to be played in a very emotional way. Walsh played it differently, making you feel his pain without openly breaking in front of you. The anguish he feels abandoning the strike is palpable, and he comes across as a beaten man, lifting once again when he sees Billy dance. A very unique take, and one I really enjoyed seeing. It worked in a way that had the audience relating to him, both as a father and a human being.
Anna-Jane Casey shone brightly as Mrs Wilkinson, captivating the audience from her first scene. Her care and belief in Billy is phenomenal, putting you in their corner from the start. With a rich theatre history, and having previously portrayed the role in London, I had high hopes for this role, and she did not disappoint. Her emotion during The Letter, as well as at the end when she says goodbye to Billy, was beautifully portrayed, and pulled hard on the heartstrings.
Andrea Miller definitely deserves a mention for her take on the Grandma, having the audience laughing whenever she was on the stage. She clearly had a strong bond with all three Elliot men, and her solo number in act one was done with tremendous grace and comedy.
The ensemble, as for most shows, were the backbone of this production, and pulled off complex choreography seamlessly and with complete grace. The big ensemble numbers held your attention, especially during Solidarity and The Stars Look Down. They were beautifully haunting, pulling the room into complete silence. Stand outs include Daniel Page as Mr Braithwaite and Evie Martin as Debbie. Both pulled the audience in during their scenes, and had people practically rolling in the aisles.
The show, as a whole, is spectacular. The use of lighting and props make you feel as if you are back in the 1980s, not sat in a theatre in the middle of Liverpool. The staging is nothing short of majestic, leaving me impressed on more than one occasion. The use of props during the finale to act one was very powerful, and the audience buzz did nothing but grow throughout the night. As a novice when it comes to ballet and dance, I was blown away by both the children and the adults in this production, whose time and effort was plain to see and has paid off beautifully, making this production a must see.
The changes for a few key scenes in act two, including the audition scene, breathed new life into this show, with a strong story and even better score. The flying scene, between both younger and older Billy, thankfully remains. A scene that, I think, makes all people fall in love with this little boy who just wants to dance.
The show runs at Liverpool Empire until the 27th May, before heading to Milton Keynes on the 30th. I recommend you see this tour before it ends, and see how well a tour can be done. It ticks all the boxes of a big production, without the travel to our country’s capital. I find it hard to believe this is a show anyone could leave disliking, whether it’s a new show to you, or one you have seen one hundred times. Go, and see for yourself some of the very best talent around, telling you a story that is relatable in our current times. Go, and be uplifted by the comedy and music from a show that will be captivating people for decades to come. Go, and fall in love with a little boy, who follows his dream and sees where those dreams can take him.
My only complaint is that I can only give 5/5 to a show that deserves so much more.