"'He Could Be a Star'— Could You?" by Brooke Eibensteiner

         Why do we constantly need to ask for forgiveness and acceptance in pursuit of our

passions? Billy Elliot is a classic story of dreams clashing brutally with reality. When young

Billy discovers his passion for ballet amongst the turmoil of County Durham’s coal strike, he

must shatter conventionality and beseech his town for financial assistance and approval as he

chases a spot in the prestigious Royal Ballet School. Filmed on September 28 th , 2014 in

London’s West End Victoria Palace Theatre, this show breaks the customary use of dance

breaks, showcases history through the lens of childhood, and demonstrates the toil of discovering

who you are when the world screams at you to be someone else.

        At first glance, the stage of Billy Elliot is simplistic and traditional of musical theatre. But

as the story progresses, and the Elliot house rises from the floor, and new locations are pulled

straight out of the walls, the audience grasps the nuances included in Stephen Daldry’s direction.

Set changes are initiated by actors rather than a set crew, keeping viewers immersed while

propelling the plot along. Additionally, the set changes move toward the actors, perpetuating the

helpless claustrophobia the characters feel within County Durham. Unlike Billy, who has the

opportunity to escape by making it into the Royal Ballet School, the other residents of his town

are trapped. This suffocating theme is also showcased in the almost exclusive location of scenes

indoors.

        In a time of social turmoil, the story of Billy Elliot takes on a deeper meaning. As a young

boy pursuing ballet, Billy parallels the non-gender-conforming habits and attitudes of the current

day. Numbers such as “Expressing Yourself” presents children encouraging all ages to accept

and love who they are, no matter social norms. The musical number “Solidarity” intertwines the

innocent practice of Billy’s ballet classes with the terror and violence of the coal strike. This

scene especially calls attention to police brutality and the suppression of minority rights, issues

currently at the forefront of American minds. The audience’s experience in this show is unique in

that it exhibits historical commentary through the perspective of children. Diegesis can get away

with more when telling a coming-of-age story—children have not yet grown, their comments can

be brushed aside and their lack of maturity used as an excuse to discredit them. But the messages

in their words remain a weight pressing on the subconscious of all who hear them.

        This performance was impressive on several fronts. The stamina required by the

musical’s lead, Elliott Hanna, is astounding. The use of dance not to reinforce plot and dialogue

but rather to reveal and progress the story is unequaled. Comedy keeps the mood light while

constantly exposing the watcher to uncomfortable subjects. The blending of innocence and terror

is profoundly influential. And above all, Billy Elliot demonstrates the internal struggle within us

all to find our purpose and risk failure and ridicule to achieve our dreams. While British slang

and thick accents sometimes breed confusion for an American audience, the essential themes are

layered in every scene to aid comprehension. As Billy Elliot’s ballet teacher Sandra Wilkinson,

played by Ruthie Henshall, tells her aspiring pupil, in the end, your dream is not for anyone

else’s benefit. “Do it for you.”