And Please, Billy...

I've been waiting years to see Billy Elliot on Broadway. When the show opened in London in 2005, the reviews were great. The score, by Sir Elton, is his best by far. The cast recording is a bittersweet emotional experience. Heading into the show, I had hopes that Billy Elliot would have the same effect on me as Ragtime, another show in a huge production with dark material and serious issues for our time. Did it deliver?

I think the only answer to that question can be "half way." I loved the show, and I left thinking how much better it could be. First, the bad news: In 2008, Billy Elliot feels incredibly derivative. In fact, my least favorite moments seem pulled directly from three current Broadway shows. In Act I, during the otherwise fantastic "Express Yourself" duet between Billy and Michael, giant-sized puppets more than reminiscent of Wizardmania in Wicked totally distract from one of the most beautiful and sweet moments of the show. Act II begins with a "tribute" to Maggie Thatcher in which a giant Thatcher puppet comes over the back of the stage to terrorize the cast (and hopefully--but not, unfortunately) the audience, a la the second act opener of Avenue Q. The least favorite of the least favorite moments in the post-finale finale, that plays like the Mamma Mia megamix that ends that show.

IMamma Mia, it works okay. But Billy Elliot is a bittersweet show with a rather somber ending. To follow that with 15 minutes of the cast dancing to the big songs from the show in tutus is a crass commercial decision that leaves one perplexed, not thoughtful. Ben Brantley, in his review of the London production, warned us to leave before the curtain call starts. Oh that I would have listened.

These problems aren't fatal. That's good, because there is no chance they're going to be fixed. But they do keep Billy Elliot from being great. And what is great about it?

The story is incredibly moving. The story of the young boy who wants to dance set against the backdrop of the miners' strike in Thatcher's England is rich, moving and powerful. The cast is fantastic, particularly our Billy, Trent Kowalik, and Mrs. Wilkinson, Haydn Gwynne, had wonderful chemistry. The ongoing interplay between the miners and the young ballerinas is often poignant and always creative. In fact, the choreography by Peter Darling weaves a thread through the story that supports the narrative and even drives it.

Elton John's score is also wonderful. Sometimes for better, sometimes for worse, the show has a Les Miz familiarity that makes the miners' plight an epic one. But the true success of the score is the intimates moments, such as "The Letter," in which we see the human connection between the characters.

Kawalik is the most experienced of the current Billys, having played the role in London. He's very strong and eminently likable. His scenes with the flamboyant Michael, David Bologna, were the audience favorites, and deservedly so. The scenes are strong, and Bologna is a natural ham who shines.

Ian MacNeil's set is big and complicated, and it always supports the production without overwhelming it. The visual image on the stage is often arresting. And the production puts its own stamp on the material.

So much care has gone into translating Billy Elliot from film to stage, and this big, beautiful, emotional show has so much going for it. One can almost understand the decision to improve the chances for commercial success by leaving people on their feet with big smiles on their faces. Almost. The decision costs the show much of its integrity in the final moments and that's really a shame.