“Billy Elliot” certainly belongs on any list of the greatest British musicals of all time, eclipsed by “Les Miserables” for sure, but right up there with “Matilda,” “Mamma Mia” and “Blood Brothers.”
The 2004 show, a monster international hit that would probably still be playing if hadn’t cost such a fortune to run, was based on a relatively obscure 2000 movie that Elton John, who composer the score for Lee Hall’s book, happened to see in Cannes, finding himself crying in his seat. It tells the story of a miner’s kid, who dreams of a ballet future even as former British Prime Minister Margaret Thatcher rips apart the unionized British coal industry during the mid-1980s.
Anyone who has been around this town’s theater for a while will recall the 2010 dedicated Chicago production, a magnificently produced affair that the original director, Stephen Daldry, came to town and did himself, gifting Chicago with a level of production values that we rarely see. Many of the kids who shared the title role here went on to major ballet careers. Also in the memory bank: the late Rachel Rockwell’s beautiful first regional staging at the Drury Lane Theatre in Oakbrook Terrace.
On Friday, Paramount Theatre took on this epic title with a huge and dystopian set from Michelle Lilly that looked like something out of Fritz Lang’s “Metropolis.” The humanity and sense of humor of South Yorkshire was squelched a bit there, although it’s certainly a potent bit of expressionism that added a whole new level to the ensemble singing of the mineworkers.
Trent Stork’s production feels overly chilly to mem, in places; this capable young director has to watch the danger of too much stuff overwhelming the crucial emotional trajectory of his shows, which is what I also felt about his staging of “Willy Wonka and the Chocolate Factory,” although “Billy Elliot” is much stronger material. In the end, a fabulous performance from Ron E. Rains, who plays Billy’s heartbroken dad, brings the show home in the far stronger second act. It’s a deeply moving performance that’s a perfect match for the excellent Michelle Aravena, who plays the sardonic dance teacher Mrs. Wilkinson, a character that Hall intended to offer an example of a different kind of love, the one that pushes you to be your best and put your energies and work into situations where you can actually have an impact. I greatly enjoyed young Neo Del Corral in the title role (he shares the part with Sam Duncan); Del Corral offers a gymnastic take on his young dancer, a great way for a kid to go, as choreographed by Isaiah Silvia-Chandley.
Some of the smaller moments needed more work, especially Billy’s interactions with his mum (Jenni Sophia) which all seemed to land upstage and I also felt the massively talented Spencer Davis Milford, played by Tony, also didn’t always get the focus he deserved. Stork has his hugely talented cast of young performers doing all kinds of stuff, often more than we need, frankly: I’d have liked to seen some of them take a few quieter beats and let us see inside of their character’s hearts.
Musically speaking, the show has its rousing harmonics very much in place, although the rock elements of John’s score didn’t pop entirely as they should, especially when he was playing with the contrast of the miners’ choral traditions with the
Chris Jones is a Tribune critic.
cjones5@chicagotribune.com
Review: “Xxx” (3 stars)
When: Through March 24
Where: Parmamount Theatre, 23 E. Galena Blvd.
Running time: 2 hours. 45 mins.
Tickets: $38-79 at (630) 896-6666 and paramountaurora.com
