I’m not sure that even writer Lee Hall realises what he may have achieved with the stage musical of his screenplay. I think this might be the successor, a generation on, to Blood Brothers: a musical that combines entertainment and feelgood with a moving sense of social and class commitment to certain ideals. That sounds off-puttingly earnest, but let me reassure you that the show is a big, plain-speaking, heart-warming hit.
If you haven’t seen the movie (where’ve you been?), it’s the story of the young son of a Durham miner. Billy wants to become a ballet dancer, but has to face both individual prejudices and the hardships of the 1984-5 miners’ strike. Hall’s screenplay skilfully set the story of personal fulfilment against the background of community strife. On stage, it’s more evenly balanced, almost telling two parallel stories.
It’s become a play about change, about moving on from long-ingrained ways and assumptions. But that’s not by any means always the same as “progress”. Sometimes, as with the destruction of the mining industry, it’s malicious, callous and utterly devastating. But sometimes – as with Billy showing that there’s life beyond the pit, and ballet isn’t just for upper-class poofs – it’s warm, welcome and affirming.
Of course, Lee Hall has the benefit of one or two skilled collaborators. Stephen Daldry directed the film, but long before that he had a reputation for big, bold, impressive theatrical productions. He hasn’t lost his touch. Elton John’s score contains a number of “Eltonic” chord changes, but that’s good as it doesn’t sound like every other recent musical. It also ranges far beyond pop in its musical scope.
I must admit I wasn’t sure for a lot of the show whether it was really working, or whether it was using the miners’ strike as a quaint historical backdrop. What convinced me was Act Two’s opening singalong number, a big, rousing belter that looks forward to Thatcher’s death! It’ll never play Broadway unless the dialogue is thoroughly sanitised. Even the kids are effing and blinding. But such defiance is something to relish.
Tim Healy and Haydn Gwynne shine as Billy’s father and the no-nonsense ballet teacher who first oppose each other then join forces for the lad. The three young leading roles – Billy, his cross-dressing friend Michael and the teacher’s daughter Debbie – have a rota of three kids each to play them. The press night’s cast was outstanding. Only once in a blue moon do I rave about a musical. It’s blue tonight.
Written for Teletext.
Copyright © Ian Shuttleworth; all rights reserved.
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