REVIEW: Spirits soar in ‘Billy Elliot’

CEDAR RAPIDS — Theatre Cedar Rapids took a leap of faith, programming 'Billy Elliot The Musical,' crossing collective fingers that a local tween boy with fleet feet would rise to the occasion.

Jesse Flaherty, 11, of Fairfax, doesn't merely rise, he soars in an unbelievable stage debut as the boy who secretly swaps ill-fitting boxing gloves for ballet slippers that perfectly suit his soul, if not the norm in his hardscrabble English mining village.

The cheers and thunderous applause that punctuated the performance gave way to an immediate standing ovation at the end of Thursday's final dress rehearsal. The production continues through July 22.

Flaherty was born to be Billy. He's a natural, wrapped up in five years of instruction at The Dancers Edge in Hiawatha, along with two months of rehearsals at TCR to turn him into a fine actor and singer, as well — with stage presence to spare.

Gus Elwell, 13, of Iowa City, packs plenty of punch and the right touch of froth as Billy's best friend, Michael, who's harboring his own less-than-well-kept secret of raiding his sister's and mother's closets for frocks and purses. Elwell's a tap dancer who trains at the Nolte Academy in Coralville, and kicks up a sweet, saucy energy whenever he's encouraging Billy to tap into his inner passions, regardless of what others may say.

And those others have plenty to say. His father (Tad Paulson) and brother (Max Locher) are mortified that Billy has been studying dance instead of boxing, and the rest of the villagers and miners are equally appalled. They have more pressing issues, however, as the miners face down a yearlong strike from 1984 to 1985 that sparks violent clashes within their own ranks and with the riot police.

When Billy's father forbids him to audition for the Royal Ballet, years of pent-up anger and frustration explode in 'Angry Dance,' as Billy hurls himself at every obstacle in his way, including the police.

Paulson and Locher plumb the emotional depths of their explosive roles, and when they unite with each other and with the villagers, it's truly beautiful to behold.

Aaron Canterbury's stunning choreography captures the show's every mood, from humor to angst, bumbling ballet to polished pirouettes, which Flaherty performs flawlessly time and time again. The lighting, scenery and costumes compliment the complex layers of conflict as the action unfolds in a gritty world.

Elton John's powerful music is performed with gusto in the ensemble numbers and tenderness in the solo spotlights, under Benjamin Schmidt's deft direction of the singers and orchestra.

A special nod goes to artistic director Angie Toomsen for letting the beauty of the story shine through, without resorting to the cheap laughs that demeaned the show and left me disappointed when I saw the first Broadway national tour in 2012.

The language is coarse, peppered with plenty of salty remarks, but it never seems gratuitous, and often breaks the tension. All of the supporting characters are strong, as well, including Tina Conroy as the petite dance instructor who isn't afraid to stand up to the burliest men, and Jan McCool as Billy's grandma, whose flashes of clarity pierce the veil of dementia that's descending around a family already struggling with the death of Billy's mother.

The loveliest moments come in the memory scenes and dream scenarios, where Billy is speaking to his late mum; Grandma is dancing with Grandpa; and Billy's stunning pas de deux with his grown-up self. All are poignant and utterly beautiful in their artistry, which really describes the entire show.

l Comments: (319) 368-8508; diana.nollen@thegazette.com

IF YOU GO

l What: 'Billy Elliot The Musical'

l Where: Theatre Cedar Rapids, 102 Third St. SE

l When: To July 22; 7:30 p.m. Friday, Saturday, 2:30 p.m. Sunday

l Tickets: $29 to $38, TCR Box Office, (319) 366-8591 or Theatrecr.org

l Extra: See Stephen Mally's video at Hooplanow.com