L'histoire se passe dans le comté de Durham en Angleterre, lors des grèves de mineurs de 1984 et 1985 suite aux réformes proposées par Margaret Thatcher. Billy, un jeune garçon âgé de 11 ans, s'entraine à boxer, comme le veut son père. Un jour, il s'attarde dans le gymnase après son cours de boxe et participe à un cours de danse classique sous la houlette de Miss Wilkinson. Par la suite, il cesse d'assister aux cours de boxe pour lesquels il n'a aucun goût et devient le seul garçon du cours de danse en cachette de son père. Pensant qu'il a du talent, Miss Wilkinson l'encourage à auditionner à la Royal Ballet School de Londres contre l'avis de sa famille.
In County Durham, during the 1984-85 coal miners' strike The Stars Look Down, motherless eleven-year-old Billy inadvertently finds his way out of his boxing practice and as the only boy in a ballet class run by Mrs. Wilkinson and becomes attracted to the grace of the dance Shine. While his brother, father and neighbours are on strike and clash with riot police, he continues to take dance lessons, keeping it a secret from his family. The secret is at first easily kept, as the only person home at the time is his grandmother, who reveals her abusive relationship with her dead husband and that she too loved to dance, which made everything all right Grandma's Song. Billy forms a friendship with Mrs. Wilkinson’s daughter Debbie.
The boxing coach informs Billy's dad that the boy hasn't been to practice in months, and Mr. Elliot erupts, realising Billy has spent the money he gave his son for boxing on something else Solidarity, a number which intersperses the violent, riotous reality with the girls peacefully practicing their ballet routines in a fictional but tranquil world. When Mr. Elliot discovers where his son has been, he storms into the ballet class and forbids Billy from attending the lessons. Mrs. Wilkinson, who is supportive of Billy and recognizes his talent, privately suggests he come to the studio for free solo lessons, and he improves to a level beyond that of the rest of the class. Eventually, she encourages him to audition for the Royal Ballet School in London. Meanwhile, Billy's best friend Michael is beginning to understand his homosexuality. He persuades Billy to have fun with him by dressing up in women's clothing and disdaining the restrictive inhibitions of their working class community Expressing Yourself. Billy continues to take private ballet lessons, bonding with Mrs. Wilkinson and developing an impressive routine for his audition Dear Billy (Mum's Letter)/Born to Boogie. Meanwhile, Billy's father and brother Tony are engaged in daily battles with riot police that often turn bloody. They struggle to support the family with very little in strike and union pay, a difficult task that goes on for nearly a year.
When the day of the Royal Ballet School audition comes, Mrs. Wilkinson arrives to pick up Billy. However, his family and some members of the community have gathered at the Elliot home, and she is forced to reveal that she has been teaching Billy ballet in preparation for this very day. This news upsets Billy’s father and Tony, who pushes the boy around, calls him names and embarrasses him in front of everyone. This setback sends Billy into a rage, and for nearly a year he stays away from everything related to ballet Angry Dance.
At Christmas time in the community centre, the children put on a show disparaging Prime Minister Margaret Thatcher, who is seen as the antagonist by the coal miners Merry Christmas, Maggie Thatcher. Billy's father gets drunk and sings an old folk song that elicits memories of his deceased wife and the usually stoic man leaves in tears Deep Into the Ground. Left alone with Billy in the Community Centre, Michael reveals he has feelings for him, but Billy explains that although he likes ballet, he is not gay. Nonetheless, he lets Michael give him a kiss on the cheek. Michael leaves, and Billy feels like dancing for the first time since the day of the aborted audition Swan Lake. From the door, his father watches Billy's dance routine and, overcome with emotion, he goes to Mrs. Wilkinson’s house to discuss Billy’s prospects as a dancer. She confirms Billy's talent, but is not sure whether or not he would get into the Royal Ballet School. They discuss the cost of tuition, an amount well beyond Mr. Elliot's means. He leaves questioning his working-class pride and the future mining has for his boys.
Mr. Elliot decides the only way to help Billy is to return to work. When Tony sees his father cross the picket line, he becomes infuriated and the two argue over what is more important: unity of the miners or helping Billy achieve his dream He Could Be A Star. The argument eventually comes to blows and Billy is hit accidentally. One by one, the miners side with Billy's quest and offer the boy their strike pay, but Billy still can’t afford the bus fare to London. A strike-breaker offers him hundreds of pounds from his wage, and an enraged Tony attempts to shun his efforts, but Billy accepts nonetheless. Now drained of hope, Tony dismally ponders whether there's a point for anything anymore, and runs off.
Billy and his father arrive at the Royal Ballet School for the audition. While Mr. Elliot waits outside, an upper-crust Londoner highlights the contrast between the Elliots and the families of the other applicants. Mr. Elliot meets a dancer with a thick Northern accent. The dancer confesses that his father does not support his ballet career. He sharply advises Mr. Elliot to "get behind" his boy. Billy nervously finishes the audition with a sinking feeling that he did not do well. As he packs his gear, he lets that emotion overwhelm him, and he punches another auditioner in the face. The audition committee reminds Billy of the strict standards of the school. They have received an enthusiastic letter from Mrs. Wilkinson explaining Billy's background and situation, and they ask him to describe what he feels when he dances. Billy responds with a heartfelt declaration of his passion Electricity.
Back in Durham, the Elliots resume life as usual. Billy receives a letter from the school and, overwhelmed and fearful, knowing that it heralds the end of the life he has known, informs his family that he wasn't accepted. Tony retrieves the letter from the waste bin and discovers that his brother was accepted. At the same time, the miners have decided to return to work resigned to the fact they are a part of a dying industry and a withering community, but take comfort that Billy at least will rise from the ashes to greatness. Billy says goodbye to the miners Once We Were Kings, Mrs. Wilkinson (thanking her for everything she did to help him) and Debbie, who will miss him Dear Mum (Billy's Reply). Michael arrives to say goodbye, and Billy gives him a friendly kiss on the cheek Finale, leaving the past behind him and his bright future ahead of him.
Un bonheur absolu. L'histoire est jubilatoire et est servie par des cast de jeunes acteurs incroyables. A ne rater sous aucun prétexte.
1 Billy Elliot peut-être considéré comme un Top musical
2 Billy Elliot s'intéresse à un événement historique important: Grève des mineurs Angleterre en 1985.
based on the 2000 film Billy Elliot
Original London production)
The musical was planned to premiere at the Tyne Theatre in Newcastle upon Tyne, England. This was abandoned due to the financial problems of the Tyne Theatre's operator and the production's growing budget.
The musical premiered in the West End at the Victoria Palace Theatre, opening in previews on 31 March 2005 and officially on 11 May 2005; it is still running today, with the booking date recently being extended to 15 December 2012. It reportedly cost £5.5 million to produce (the original film version cost $5 million). The producers were Working Title Films, Old Vic Productions Plc and David Furnish. It was directed by Stephen Daldry and choreographed by Peter Darling, as was the original film. Liam Mower, James Lomas and George Maguire were the original actors who alternated in the title role, and the supporting cast included Haydn Gwynne as Mrs. Wilkinson and Tim Healy as Billy's father. The sets were designed by Ian MacNeil, and the costumes were by Nicky Gillibrand, lighting was by Rick Fisher, and sound by Paul Arditti. The original cast album was released on 10 January 2006.
The musical received favourable reviews: the Daily Telegraph's Charles Spencer called it "the greatest British musical I have ever seen", and The Daily Mail thought it "a theatrical masterpiece".
Billy Elliot the Musical won four Laurence Olivier Awards: Best New Musical, Best Actor (awarded jointly to James Lomas, George Maguire and Liam Mower, the boys who played Billy), Best Sound design and Best Choreographer. It also won the Evening Standard Award as well as the Critcs Circle Award and the Theatregoers Choice Award, all for Best Musical. On 12 May 2006, the three original Billys appeared together in a performance of the musical to celebrate its first anniversary. The three rotated the role during the performance and were joined at the end by Sir Elton John.
Billy Youth Theatre
Billy Youth Theatre is a countrywide scheme as part of which participating schools and youth groups will be given the opportunity to stage their own production of this internationally award-winning show. Billy Elliot writer Lee Hall, together with Martin Koch (Musical Supervision and Orchestrations), have adapted their original script and orchestrations to produce a shortened version of the show exclusively for groups staging local productions as part of Billy Youth Theatre.
Original Australian production
The musical opened at Sydney's Capitol Theatre on 13 November 2007, directed by Daldry in association with Julian Webber, and choreographed by Darling. Rhys Kosakowski, Lochlan Denholm, Rarmian Newton, and Nick Twiney alternated in the title role. The production earned good notices, and in January 2008 it won Best Musical at the 2008 Sydney Theatre Awards. The show also won seven Helpmann Awards, including the awards for Best Musical, Best Direction, Best Choreography, Best Actress (Genevieve Lemon as Mrs. Wilkinson) and Best Actor, awarded jointly to the four boys who played Billy Elliot. The production concluded in Sydney on 9 November 2008 with all eight Sydney Billys in the finale.
The Sydney production transferred to Melbourne's Her Majesty's Theatre, opening on 13 December 2008. The Melbourne production closed on 14 June 2009 after a successful run.
Original Broadway production
The Broadway production opened at the Imperial Theatre on 1 October 2008 in previews and officially on 13 November 2008. The London production's creative team directed and designed the Broadway production. The title role was rotated among three young actors, David Álvarez, Kiril Kulish and Trent Kowalik, the last of whom had played the role in London. The supporting cast included Haydn Gwynne, reprising her role of Mrs. Wilkinson from the London production, and Gregory Jbara as Billy's father. The production received rave reviews: Time called it a "triumph"; critic Liz Smith termed it "breathtakingly brilliant" and "absolutely, unequivocally awesome"; the Daily News said it was "so exhilarating that at times you feel like leaping"; the New York Post said it was "almost like being in love" and termed it "amusing, perfect and passionate" and "the best show you will ever see"; and the Los Angeles Times called it a "global theatrical phenomenon". It has also been very financially successful, with $20 million taken in advance ticket sales. The production received fifteen Tony Award nominations, tying with The Producers for the most nominations ever received by a Broadway show, and winning ten. The original three boys in the lead role jointly won a Tony Award for Best Leading Actor in a Musical. The production recouped its original investment of $18 million in 14 months and, as of 2010, continues to sell strongly. On 3 October 2011, it was announced that the Broadway Production will close on 8 January 2012 following 40 previews and 1,304 regular performances.
"The Stars Look Down" – Company
"Shine" – Ballet Girls, Mrs. Wilkinson & Mr Braithwaite
"Grandma's Song" – Grandma
"Solidarity" – Ballet Girls, Billy, Mrs. Wilkinson, Miners & Police
"Expressing Yourself" – Billy, Michael, and Ensemble
"The Letter (Mum's Letter)" – Mrs. Wilkinson, Mum and Billy
"Born to Boogie" – Mrs. Wilkinson, Billy, and Mr. Braithwaite
"Angry Dance" – Billy & Male Ensemble
"Merry Christmas, Maggie Thatcher" – Tony and Partiers
"Deep Into the Ground" – Jackie
"Swan Lake" – Billy and Billy Older Self
"He Could Be a Star" – Jackie and Tony (called "He Could Go and He Could Shine" in US productions)
"Electricity" – Billy
"Once We Were Kings" – Company
"The Letter (Billy's Reply)" – Mum and Billy
Finale – Company
Aucun dossier informatif complémentaire concernant Billy Elliot
Aucun dossier informatif complémentaire concernant Billy Elliot
Billy Elliot (2005-05-Victoria Palace-London)Type de série: Original
Théâtre: Victoria Palace Theatre (Londres - Angleterre) Durée : 10 ans 11 mois Nombre : Première Preview : 31 March 2005
Première: 11 May 2005
Dernière: 09 April 2016Mise en scène : Stephen Daldry • Chorégraphie : Peter Darling • Producteur : Avec : Cast: James Lomas/George Maguire/Liam Mower (Billy), Haydn Gwynne (Mrs Wilkinson), Tim Healy (Dad), Joe Caffrey (Tony), Ann Emery (Grandma), Trevor Fox (George), Steve Elias (Mr Braithwaite), Stephanie Putson (Dead Mum), Isaac James (Older Billy), Brad Kavanagh/Ashley Long/Ryan Longbottom (Michael), Brook Havana Bailey/Emma Hudson/Lucy Stephenson (Debbie),Commentaires : The musical was based on the 2000 film of the same name. The original film was partly inspired by A.J. Cronin’s 19 novel “The Stars Look Down”. The musical earned excellent notices - "the greatest British musical I have ever seen" (Daily Telegraph), "a theatrical masterpiece" (Daily Mail) and won four Olivier Awards, including Best New Musical and Best Actor in a Musical awarded jointly to all three boys who played Billy. The Broadway production opened in November 2008, earning totally rave reviews, winning ten Tony Awards, and recovering its entire $18 million investment in 14 months. (The New York production closed on January 8th, 2012 following 40 previews and 1,304 performances.)Presse : Les critiques sont très très bonnes:
MICHAEL BILLINGTON du THE GUARDIAN: "Billy Elliot succeeds brilliantly because Elton John's music and, especially, Peter Darling's choreography enhance Lee Hall's cinematic concept."
BENEDICT NIGHTINGALE du THE TIMES: "Tougher, bolder and, as my tear-ducts can attest, more moving than its admittedly admirable celluloid precursor. ...If there is a disappointment, it is Elton John’s music, which begins promisingly, with a church-like paean to cameraderie, but never seems either tuneful or original."
CHARLES SPENCER du THE DAILY TELEGRAPH: "Billy Elliot strikes me as the greatest British musical I have ever seen."
ALASTAIR MACAULAY du THE FINANCIAL TIMES: "Elton John's music is too often formulaic but about half of this show achieves dramatic poetry of a kind rare in any kind of theatre."
PAUL TAYLOR du THE INDEPENDENT: "Funny, touching and shamelessly enjoyable staging."
Billy Elliot (2007-11-Capitol Theatre-Sydney)Type de série: Revival
Théâtre: Capitol Theatre (Sydney - Australie) Durée : 12 mois Nombre : Première Preview : Inconnu
Première: 13 November 2007
Dernière: 09 November 2008Mise en scène : Stephen Daldry • Chorégraphie : Peter Darling • Producteur :
Billy Elliot (2008-11-Imperial Theatre-Broadway)Type de série: Original Broadway
Théâtre: Imperial Theatre (Broadway - Etats-Unis) Durée : 3 ans 1 mois 3 semaines Nombre : 40 previews - 1304 représentationsPremière Preview : 01 October 2008
Première: 13 November 2008
Dernière: 08 January 2012Mise en scène : Stephen Daldry • Chorégraphie : Peter Darling • Producteur : Presse : BEN BRANTLEY for NEW YORK TIMES says, "This show both artfully anatomizes and brazenly exploits the most fundamental and enduring appeal of musicals themselves."
JOE DZIEMIANOWICZ for THE NEW YORK DAILY NEWS says, "That rare production - one that brings all the elements together and creates a fresh emotional experience."
BARABARA HOFFMAN for NEW YORK POST says, "The best gift from Britain since Harry Potter."
JOHN SIMON for BLOOMBERG says, "Really does have something for everyone, and that something is, gloriously, art."
ELYSA GARDNER for USA TODAY says, "In one sequence, Billy imagines and shadows an older version of himself, and both leap across the stage as the rapturous strains of Tchaikovsky's Swan Lake swell around them. And for a few moments — no matter where you're from — it's impossible to not be transported by this kid's amazing grace. "
LINDA WINNER for NEWSDAY says, "Seriously thrilling as it is deeply lovable."
DAVID SHEWARD for BACK STAGE says"One of the smartest and most satisfying Broadway musicals in years."
ROBERT FELDBERG for THE RECORD says, "It's hard to call "Billy Elliot" a great musical – it's not unique enough for that – but you won't easily find one that's more generously entertaining."
JAQUES LE SOURD for JOURNAL NEWS says, "The Broadway season's first big musical hit."
RICHARD ZOGLIN for TIME MAGAZINE says, "Billy Elliot does almost everything a musical should do, and more."
MICHAEL KUCHWARA for ASSOCIATED PRESS says, "It's not often that a musical comes along that is as ambitious as it is emotional — and then succeeds on both counts."
DAVID ROONEY for VARIETY says, "That 'Billy Elliot' is as much an elegy as a celebration is what makes it such a winner."
Billy Elliot (2008-12-Her Majesty's Theatre-Melbourne)Type de série: Revival
Théâtre: Her Majesty's Theatre (Melbourne - Australie) Durée : 6 mois Nombre : Première Preview : Inconnu
Première: 13 December 2008
Dernière: 14 June 2009Mise en scène : Stephen Daldry • Chorégraphie : Peter Darling • Producteur :
Billy Elliot (2010-04-FCPA Oriental Theatre-Chicago)Type de série: Revival
Théâtre: Ford Center for the Performing Arts Oriental Theatre (Chicago - Etats-Unis) Durée : 7 mois 3 semaines Nombre : Première Preview : 18 March 2010
Première: 11 April 2010
Dernière: 28 November 2010Mise en scène : Stephen Daldry • Chorégraphie : Peter Darling • Producteur :
Billy Elliot (2014-11-Circustheater-Scheveningen)Type de série: Revival
Théâtre: Afas Circustheater (Scheveningen - Pays-Bas) Durée : 11 mois 1 semaine Nombre : Première Preview : Inconnu
Première: 30 November 2014
Dernière: 07 November 2015Mise en scène : Stephen Daldry • Chorégraphie : Producteur : Avec : Pia Douwes (Mrs. Wilkinson), Bas Heerkens (Father), Reinier Demeijer (Brother), Carry Tefsen (Grandmother)
Billy Elliot (2017-06-Mehr! Theater am Großmarkt-Hamburg)Type de série: Revival
Théâtre: Mehr! Theater am Großmarkt (Hambourg - Allemagne) Durée : 3 semaines Nombre : Première Preview : 28 June 2017
Première: 29 June 2017
Dernière: 23 July 2017Mise en scène : Chorégraphie : Producteur : Avec : Adam Abbou / Emile Gooding / Haydn May / Lewis Smallman (Billy), Anna-Jane Casey (Mrs. Wilkinson), Martin Walsh (Billys Vater), Scott Garnham (Tony), Andrea Miller (Großmutter), Leo Atkin (George), Daniel Page (Mr. Braithwaite), Nikki Gerrard (Billys tote Mutter), Luke Cinque-White (Der ältere Billy), Henry Farmer / Bradley Mayfield / Elliot Stiff / Samuel Torpey (Michael), Lilly Cadwallender / Evie Martin / Italia Ross (Debbie), Tom Brainbridge, Deborah Bundy, Jack Butterworth, Luke Clinque-White, Donna Combe, Wayne Fitzsimmons, Abbie Louise Harris, Ruri James, Leon Kay, Kiera Marner, Charlie Martin, Kris Manuel, Barnaby Meredith, Ben Redfern, Amy Rhiannon-Worth, Phil Snowden, Rachel Spurrell, Sebastian Sykes, Milan van Weelden, Luke Zammit, Irene Bakuva, Lucy Browne, Bonnie Burgess, Isobelle Chalmers, Gabrielle Ellis, Olivia Floydd, Pacha Green, Leah Jennings, Erin McIver, Macie O’Brien, Lily Patterson, Danella Sloman, Lucy Summers, Nicola Turner, Acacia Villios, Soraya Walding, Andrea Webb, Anna William
Billy Elliot (2005-05-Victoria Palace-London)
Qualité: ***** Intérêt: ****
Langue: Anglais Durée:
Billy Elliot (2014-11-Circustheater-Scheveningen)
Qualité: ***** Intérêt: *****
Langue: Néérlandais Durée: 0:01:04