Full Synopsis
Act One
In County Durham, the 1984 – '85 coal miner's strike is just beginning ("The Stars Look Down"). Motherless eleven-year-old Billy is required to stay behind after his boxing class, and finds his way into a ballet class run by Mrs. Wilkinson. He is the only boy but becomes attracted to the grace of the dance ("Shine"). The secret is easily kept initially, as the only person home at the time is his grandmother. She reveals her abusive relationship with her dead husband and that she, too, loved to dance, which made everything all right ("Grandma's Song").
While his brother, father and neighbors are on strike and clash with riot police, Billy continues to take dance lessons, keeping it a secret from his family ("Solidarity"), a number which intersperses the violent reality of the strike with the peaceful practice of ballet.
Eventually, Mr. Elliot discovers Billy in the ballet class and forbids him from attending the lessons. Mrs. Wilkinson recognizes Billy's talent and privately suggests that he should audition for the Royal Ballet School in London. To prepare for the audition, she offers him free private lessons. Billy is not sure what he wants to do, so he visits his best friend, Michael, for advice. He finds Michael wearing a dress, who then persuades Billy to have fun with him by dressing up in woman's clothing and disdaining the restrictive inhibitions of their working class community ("Expressing Yourself").
Billy arrives for his first private ballet lesson, bringing with him things to inspire a special dance for the audition ("Dear Billy – Mum's Letter"). He begins learning from, and bonding with, Mrs. Wilkinson while he develops an impressive routine for his audition ("Born to Boogie"). Mrs. Wilkinson's daughter, Debbie, tries to discourage Billy because she has a crush on him. 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, police storm through the village and injure Tony. Because Billy had not come to the miner's hall to get picked up by Mrs. Wilkinson for the audition, she goes to the Elliot's home. There, Billy's family and some members of the community have gathered. 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 get in an argument with Mrs. Wilkinson. Tony tries to force Billy to dance on the table in front of everyone. The police approach and, as everyone escapes, Billy calls out to his father, saying that his mother would have let him dance, but his father refuses to accept that, retorting, "Your Mam's dead!". Billy goes into a rage ("Angry Dance") and, for nearly a year, stays away from anything related to ballet.
Act Two
Six months later at the miner's annual Christmas show, 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 the fact that he likes ballet does not mean that he is gay. Michael gives him a kiss on the cheek and tries to get Billy to show him some dancing, but Billy is sad and just tells him to leave.
Michael departs but leaves a music player running. Billy feels like dancing for the first time since the day of the aborted audition and dances while dreaming of being a grown-up dancer ("Swan Lake"). Unknown to Billy, his father arrives and watches him dance. Overcome with emotion, his father 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. Mrs. Wilkinson offers to help pay for the trip to London for the audition, but Mr. Elliot refuses. He leaves, questioning his working-class pride and the future mining has for his boys.
Mr. Elliot decides that the only way to help Billy is to return to work. When Tony sees his father cross the picket line, he becomes infuriated. 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 of the miners chastises them for fighting and says that the important thing is looking after the child. One by one, the miners give money to help pay for the trip to the audition, but Billy still does not have enough for the bus fare to London. A strike-breaker arrives and offers him hundreds of pounds. An enraged Tony attempts to shun his donation, but no one else speaks up in his support. Now drained of hope, Tony dismally ponders whether there's a point to 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 dancer who was trying to comfort him. The audition committee reminds Billy of the strict standards of the school. They have received an enthusiastic letter from Mrs. Wilkinson that explains Billy's background and situation, and they ask him to describe what it feels like when he dances. Billy responds with a heartfelt declaration of his passion ("Electricity").
Back in Durham, the Elliots resume life, but times are tough and the miners are running a soup kitchen to ensure everyone is fed. Eventually, Billy receives a letter from the school and — overwhelmed and fearful, knowing that it heralds the end of the life he has known — he informs his family that he wasn't accepted. Tony retrieves the letter from the waste bin and discovers that his brother was not telling the truth. At the same time, the miners' union has caved in; they lost the strike. Billy visits Mrs. Wilkinson at the dance class to thank her for everything she did to help him. Debbie is sad that Billy will be leaving.
Billy packs his things for the trip to the school and says goodbye to the soon-to-be-unemployed miners, who are returning unhappily to work ("Once We Were Kings"). Billy says goodbye to his dead mother, who often visits him in his imagination ("Dear Billy – Billy's Reply"). Michael arrives to say goodbye, and Billy gives him a kiss on the cheek. Billy takes his suitcase and walks out to his future alone.
The entire cast comes out on stage and calls Billy back to celebrate the bright future ahead of him ("Finale").
Show History
Inspiration
Billy Elliot The Musical, with music by Elton John and book and lyrics by Lee Hall, is based on the 2000 film, Billy Elliot. Hall also wrote the screenplay for the movie, which was inspired by The Stars Look Down, a 1935 novel that recounts the details of a local miners' strike. Like Billy's family, Hall grew up in a household that was greatly affected by the miners' strike of 1984.
Elton John saw a screening of the film in Cannes, France, and was greatly inspired by Hall's work. He sat down with Hall and proposed that they make a musical of the film. Once they were able to bring the original creative team from the movie on board, Hall agreed to it.
Productions
Billy Elliot was originally planned to premiere at the Tyne Theatre in Newcastle upon Tyne in England. Due to the production's growing budget and theatre's financial problems, however, it was abandoned. The musical later opened on the West End at the Victoria Palace Theatre on May 11, 2005.
The show received its Australian premiere at Sydney's Capitol Theatre on November 13, 2007. It eventually transferred to Melbourne at the Her Majesty's Theatre, where it closed on June 14, 2009. The Broadway production opened at the Imperial Theatre on November 13, 2008, utilizing the same creative team as the original London production. It closed on January 8, 2012 after 1,312 regular performances.
Billy Elliot launched multiple national tours in the United States, although they followed a rather unconventional schedule. The first tour opened in Chicago on April 11, 2010, with an extended run at the Ford Center for the Performing Arts Oriental Theatre, which started out the multi-city tour. The tour then concluded with an early closing on November 28, when it then immediately transferred to Toronto, Canada, on February 1, 2011. The second U.S. tour opened on October 30, 2010, and followed a more traditional timeline.
The musical opened in Seoul, South Korea, on August 10, 2010, as the first non-English speaking production.
Trivia
- Bookwriter and lyricist, Lee Hall, worked with orchestrator, Martin Koch, to create a shortened version of the musical for an establishment called "Billy Youth Theatre." The program gives schools and youth groups an opportunity to stage their own production of the musical to help foster the arts and dance within Greater Britain.
- Billy Elliot The Musical was the first musical of the twenty-first century to utilize children in starring roles.
- The Broadway production received fifteen Tony Award nominations in 2009, tied with The Producers for the most nominations ever from a single show within a year.
- The three actors who played Billy in the original London production were the first to win an Olivier Award for Best Actor in a Musical in a shared capacity. The young Billy actors in the Broadway production also share that distinction for the Tony Awards.
Connect
Billing
- Music by
- Book and Lyrics by
Based on the Universal Pictures/Studio Canal Film.
Requirements
Book and lyrics by
LEE HALL
(50%)
|
Music by
ELTON JOHN
(50%)
|
Included Materials
Item | Quantity Included |
---|---|
AUDIO GUIDE | 1 |
LIBRETTO/VOCAL BOOK | 40 |
LOGO-MUST USE FOR ALL PRODUCTIONS | 1 |
PIANO VOCAL SCORE | 2 |
Production Resources
Resource |
---|
CHOREOGRAPHY MANUAL |
CUSTOMIZABLE SHOW POSTER |
HOW DOES THE SHOW GO ON-10/CS |
HOW DOES THE SHOW GO ON? |
KEYBOARD PATCH SOLUTIONS |
KEYBOARDTEK |
LOGO TEES SIX-PACK ADULT LARGE |
LOGO TEES SIX-PACK ADULT MEDIUM |
LOGO TEES SIX-PACK ADULT SMALL |
LOGO TEES SIX-PACK ADULT X-LARGE |
LOGO TEES SIX-PACK ADULT XX-LARGE |
LOGO TEES SIX-PACK CHILD LARGE |
LOGO TEES SIX-PACK CHILD MEDIUM |
LOGO TEES SIX-PACK CHILD SMALL |
PERFORMANCE ACCOMPANIMENT RECORDING |
PRODUCTIONPRO-DIGITAL SCRIPT/SCORE |
REFERENCE RECORDING |
REHEARSAL ACCOMPANIMENT RECORDING |
STAGE MANAGER SCRIPT |
STAGE WRITE APPLICATION |
STREAMING LICENSE |
SUBPLOT CUSTOMIZED SHOW POSTER |
TRANSPOSITIONS-ON-DEMAND |
STANDARD ORCHESTRATION: 9 PIECE ORCHESTRATION
Instrumentation | Doubling |
---|---|
BASS | ELECTRIC BASS |
DRUMS | DRUM KIT |
FULL SCORE ACT 1 | |
FULL SCORE ACT 2 | |
GUITAR | BANJO , ELECTRIC GUITAR , STEEL STRG ACOUSTIC , 12-STRING ACOUSTIC , 6-STRING ACOUSTIC |
HORN | |
KEYBOARD 2 | |
KEYBOARD1 - CONDUCTOR SCORE | |
REED 1 | FLUTE , SOPRANO SAXOPHONE , TENOR SAXOPHONE |
REED 2 | ALTO SAXOPHONE , CLARINET |
TRUMPET | CORNET , FLUGELHORN , TRUMPET |
ALTERNATE ORCHESTRATION: 17 PIECE ORCHESTRATION
Instrumentation | Doubling |
---|---|
17PC FULL SCORE VOL 1 | |
17PC FULL SCORE VOL 2 | |
ALT: BASS | ELECTRIC BASS |
ALT: DRUMS | DRUM KIT |
ALT: GUITAR | BANJO , ELECTRIC GUITAR , STEEL STRG ACOUSTIC , 12-STRING ACOUSTIC , 6-STRING ACOUSTIC |
ALT: HORN 1 | FRENCH HORN , TENOR HORN |
ALT: HORN 2 | FRENCH HORN , TENOR HORN |
ALT: KEYBOARD 1 | |
ALT: KEYBOARD 2 | |
ALT: PERCUSSION | ANVIL , BELL TREE , CABASA , COMEDY SIREN , CONGAS , COW BELL , CROTALES , DISCO WHISTLE , FLEXATONE , GLOCKENSPIEL , GRAN CASSA , MARK TREE , MOUTH SIREN , RATCHET , SLEIGH BELLS , SUSPENDED CYMBAL , TAMBOURINE , TIMPANI , TRIANGLE , TUBULAR BELLS , VIBRASLAP , WOOD BLOCKS , XYLOPHONE |
ALT: REED 1 | ALTO SAXOPHONE , CLARINET , FLUTE , PICCOLO |
ALT: REED 2 | ALTO SAXOPHONE , CLARINET , FLUTE |
ALT: REED 3 | CLARINET , SOPRANO SAXOPHONE , TENOR SAXOPHONE |
ALT: REED 4 | BASS CLARINET , CLARINET , TENOR SAXOPHONE |
ALT: TROMBONE 1 | EUPHONIUM , TROMBONE |
ALT: TROMBONE 2 | BASS TROMBONE , EUPHONIUM , TROMBONE |
ALT: TRUMPET 1 | CORNET , FLUGELHORN , TRUMPET |
ALT: TRUMPET 2 | CORNET , FLUGELHORN , SOPRANO CORNET , TRUMPET |
ALT: TRUMPET 3 | CORNET , FLUGELHORN , TRUMPET |
ALTERNATE ORCHESTRATION 1: 13 PIECE ORCHESTRATION
Instrumentation | Doubling |
---|---|
13PC FULL SCORE VOL 1 | |
13PC FULL SCORE VOL 2 | |
OPT: BASS | ELECTRIC BASS |
OPT: DRUMS | DRUM KIT |
OPT: GUITAR | BANJO , ELECTRIC GUITAR , STEEL STRG ACOUSTIC , 12-STRING ACOUSTIC , 6-STRING ACOUSTIC |
OPT: HORN 1 | FRENCH HORN , TENOR HORN |
OPT: HORN 2 | FRENCH HORN , TENOR HORN |
OPT: KEYBOARD 1 | |
OPT: KEYBOARD 2 | |
OPT: REED 1 | ALTO SAXOPHONE , CLARINET , FLUTE , PICCOLO |
OPT: REED 2 | ALTO SAXOPHONE , CLARINET , FLUTE |
OPT: REED 3 | CLARINET , SOPRANO SAXOPHONE , TENOR SAXOPHONE |
OPT: TROMBONE | EUPHONIUM , TROMBONE |
OPT: TRUMPET 1 | CORNET , FLUGELHORN , TRUMPET |
OPT: TRUMPET 2 | CORNET , FLUGELHORN , TRUMPET |