What an incredible ten year run coming to a close April 9th, 2016. From a man who never wrote songs combined with a man who embraces the production of fine art through any medium as collection of ideas and abilities. This movie is an epic example of how a decade of work can shine. Elliott, and every Billy, brought with them very little skill for this monstrosity of a role. What were you doing at 12? The stage, music, lighting, and fiery audience gives you a feel as if your a drone buzzing about the airspace of the Victoria Palace Theatre. There is not a character you wont be able to connect with. A tasteful buffet of all dance styles. Grab a box of Kleenex. Have watched it more than ten times now. Includes bonus performance. If you can't get to London get it to your TV.

I watched the movie version way to many times. I like the story of a kid that decides he will be who he is, no matter who likes it or not.... The performance was excellent, especially noticing the similarities in the live show. It helped with knowing which part of the movie/performance you are at. I also loved the live, "if we screw up there is no take two" When Billy almost couldn't control his laughing when Michael was jumping towards Billy....The ONLY thing I didn't like is the ending, they didn't show the dad and brother rushing to the ballet to watch Billy in the theater, and no showing Michael all grown up and with his partner..... That would have made it perfect, especially because the movie version only showed little clips of adult Billy performing, they could have added a little more....

OK, here's the one big downside: this is a film of the actual stage show, and it simply can't adequately convey the full stirring power of the big male voice numbers. Cranking up the volume on the TV remote for those songs still doesn't quite cut it. Smaller gripes include the camera angle cuts that are a bit annoying at times, and you wish the director had chosen not to keep chopping and changing angles quite so much, and maybe stuck with more straightforward angles that didn't occasionally cut off Billy's feet during dance sequences. Yes, the 'f-bomb' is liberally sprinkled through the dialogue, but it's in keeping with the setting. Also, occasionally the accent is a bit hard to understand. And it's a staged show, so it's not aiming for realism. So don't start comparing it with Billy Elliot the movie. This is much more about the dancing with a whole extra dimension added with the songs. The movie was great. The stage show is great. But they're great in different ways despite both telling the same story.Having said all of that, Billy Elliot the Musical is my family's all-time favourite stage show. It has everything: stunning choreography, fabulous singing, great comedy, an emotional underdog story and the whole thing is told against the backdrop of a painfully real episode of massive social upheaval. Unless the stage show is on in your city and you can afford to go and experience it in person (preferably more than once), watching this filmed version is the next best thing.The Swan Lake sequence where child Billy dances with 'future Billy' is just the most brilliant piece of choreography, stunningly executed. And the Electricity solo by child Billy where he comes out of a long dance sequence with multiple pirouettes, then has enough breath left to continue singing and finally finish with another series of pirouettes is just astounding.Watch this filmed version of the stage show. Later you can buy the CD and crank up the volume to really appreciate the power of the big male voice numbers. And when the stage show comes to a city near you, plan to go. At least once.

When Elton John re-created Billy's story to a musical in 2005, it garnered countless awards and recognition in the world of stage. The adaptation continued to run in London, the US, and Canada to universal acclaim. In 2010, it even had its first non-English language production which premiered in Seoul, with a young Korean playing the coveted role of Billy.Much can be said of the talent of its lead. Elliot Hanna as the central character is a total performer. He re-creates Billy on stage and gives the character a new face and a new form. In him, we see a more passionate Billy. He dances like a professional, and executes almost- perfect pirouettes. He has the soul of an actor worthy of an Olivier, a protégé ready to face bigger audiences and bow at their applause. But Hanna is at his best in the more sentimental scenes. I particularly like the part when he lets Mrs. Wilkinson (Ruthie Henshall) read her mother's letter (Mum's Letter) in preparation for a dance routine. In the scene, Billy's mom enters the stage to sing with him and Mrs. Wilkinson. Here, Hanna poignantly shows Billy's deep longing for a mother. His misty-eyed nuances crawl over the screen and onto the stage, overpowering the lyrics and Elton John's music. Here is a Billy who exhibits a complex core we hadn't seen before. It's a phenomenon on stage that is worth more than a second look.The supporting actors are scary, yet colorful. Henshall as Sandra Wilkinson is unexpectedly jolly, connected and engaged. At some point, one may think that she may pass as Billy's second mum. I just get a bit worried whenever she puffs half a cigarette after a total cardio-vascular performance. No wonder she gets tired that easily. But that's her lungs. Deka Walmsley as Jackie Elliot is superb. He is the same Daddy Elliot that we know, and he enchants the audience the same way Gary Lewis enthralls us in his performance of the original role. Like Lewis in the film, Walmsley's best scenes are those that examine his emotional dilemmas; how his heart chooses his love for his sons over everything else. Chris Grahamson is the love-you-hate-you Tony Elliot. His presence fills the stage, and his looks are undeniably priceless. He slowly matures on stage, and the audience loves him for that. Worthy to mention is Ann Emery's performance of Grandma. Her energy covers most of her scenes with gusto. Hall, who also wrote the story for the stage adaptation, gives the role a deeper back story, bringing Billy's Grandma somehow closer to the audience.The problem lies, however, in its execution. It exaggerates a simple plot and borders to almost being contrived. The music, though done with good intentions, stretches the plot to an unbearable pace, making one wonder if it is all worth it. Most of the dialogues maintain the same feel of the movie. The swearing and shouting never seem to stop. Though it's understandable that the excessive use of swear words throughout the story establishes a carefree culture of the working class, the stage adaptation fails miserably in justifying such conviction. It was all an empty-headed quack; a frail attempt to fill between the lines.Musical-Michael (Zach Atkinson), Billy's best friend and confidant, is much more flamboyant. While on the other hand, the film-Michael has a deeper back story and a more complicated personal dilemma. Much can even be said about his quiet love. His final shot in the film, after Billy kisses him goodbye, is a cinematic moment where, at one point or the other, we see ourselves. This shift from the original character, for the purposes of can-can entertainment, dismisses the beauty of his graceful silence in the film.Further, the Revolution in the film is just a background juxtaposed to Billy's ballet dreams. It intensifies his passion and clearly presents an ironic stance on civility and disorder. However, the adaptation tries to balance Billy's journey and the Miner's Strike. Though noble, it demagnifies the score of its central character. It lessens Billy's goal as it levels with the unclear stance on a revolution that is already too passionate to a fault. As a result, its original simplicity turns bitterly over-complicated, confused and clouded.Billy Elliot the Musical Live! revolves around the same familiar plot. It attempts to forge the same deep emotional journey of the film that made millions cry. It's triumphant at times. Somewhat memorable, even. But at some point, it gives off a shallower exposition. It may have big production numbers, well executed pirouettes, and dazzling choreographies, but it misses the heart of the original. Had it not been for the cast's breathtaking talent and Director Stephen Daldry's ambitious attempt to re-create a feel-good classic, this stage adaptation would have been amiss.