Can Billy Elliot do it? Can the young Northern English lad who discovers that he wants to dance overcome insurmountable odds like his poverty-stricken family and the vicious 1980s strike between the coal miners' community he lives in and Margaret Thatcher's conservative and privatizing government?
Well, anyone can tell you the answer if they saw the multiple Academy Award-nominated 2000 film or the critically acclaimed/award-winning 2005 stage-musical adaptation that has already been a hit in London, Sydney, New York and Melbourne.
But the local question for Billy Elliot the Musical is if Chicago will be able to support a multi-year run of the 10-time Tony Award-winning musical the way it did with Broadway hits Wicked and Jersey Boys.
Billy Elliot has already won more awards than both those shows combined. But it lacks the instant plot-association that Wicked had with generations of U.S. audiences weaned on The Wizard of Oz. And Billy Elliot doesn't have the baby-boomer nostalgia of jukebox hits of Frankie Valli and the Four Seasons that undoubtedly propelled Jersey Boys into being a long-running Chicago hit.
Then there's the whole global economic downturn, which might make Chicago audiences tight with their purse strings. And Billy Elliot features a huge cast with lots of kids—three boys and an understudy rotate in the title role because it's so taxing. So there are high running costs just to keep the show afloat each week.
But I'd like to think that once performances start, Chicagoans will be won over by this dazzling and gritty show. For one thing, it has the best theater score written by out pop icon Elton John. And it is staged by an amazing ( and award-winning ) creative team like director Stephen Daldry, book writer Lee Hall and choreographer Peter Darling ( each also worked on the original film ) .
The cast, composed of Broadway veterans and local actors, also hope for a long and prosperous Chicago run.
"My hope is that Chicago embraces the show and that it sits down here for a long time," said Evanston actress Susie McMonagle, who plays Billy's "Dead Mum" in a scene all but guaranteed to make audiences cry. "It depends on ticket sales and what kind of support we get from Chicago."
Broadway veteran and Tony Award nominee Emily Skinner ( Side Show, The Full Monty ) plays the pivotal role of Mrs. Wilkinson, the acerbic ballet teacher who spots talent in Billy and becomes his biggest champion. Skinner is particularly pleased to be working with Daldry, since many touring productions often just use assistant directors to remount the show.
"He's open to what we bring to the table, which is pretty amazing considering that he's overseen four different incarnations of this production," Skinner said. "I've been amazed that this particular creative team has been able to look at this piece freshly because they've created the movie … and managed to not just stick the movie on stage but create a whole new musical theater piece."
Skinner also revealed that despite some adjustments to the scenery, the Chicago production would essentially be the same as on Broadway. And that includes the slight alterations to the Northern English accents ( commonly known as Geordie ) to make the show more palpable.
"If we do a hardcore Geordie accent, it would be too thick for American audiences," Skinner said. "Because the Oriental Theatre is so large, we really have to punch consonants—so it's been a process."
There's also hope among the cast and crew that the Chicago run of Billy Elliot will attract the same kind of die-hard repeat visitors the show has seen in other cities. And that largely has to do with the rotating kids playing the title role of Billy.
"From a selfish actor perspective it's absolutely wonderful because it keeps it fresh every single time because you never know who's going to be on until the actual day of the performance," Skinner said about working with the different Billy actors Tommy Batchelor, Giuseppe Bausilio, Cesar Corrales and their understudy J.P. Viernes. "They each have their own unique strengths, wonderful qualities and personalities."
Skinner also hopes that Billy Elliot will have a long stay in Chicago. And that partially has to do with the fact that she turned down a chance to co-star with Mandy Patinkin in a London-bound musical called Paradise Found that is to be co-directed by Tony Award winners Harold Prince and choreographed by Susan Stroman.
"That was really a tough decision to make," Skinner said after she had appeared in multiple readings and workshops of Paradise Found. "Mandy is amazing in the show and everyone is amazing. It's a lovely piece."
But Skinner opted to hedge her bets with the Chicago startup of Billy Elliot and she hopes audiences turn out in droves.
"Boy, you really get your money's worth with this show—it has everything under the sun." Skinner said. "I love Chicago and I would be thrilled if it stayed."
Billy Elliot: The Musical starts previews March 18 toward an official opening night of April 11 at the Ford Center for the Performing Arts, Oriental Theatre, 24 W. Randolph. Tickets are $25.50-$95.50; call 800-775-2000 or visit www.billyelliotchicago.com for more information.
