Oliver Taylor
Dossier: News, Articles, Interviews, Events, Reviews from Press and Internet
London – Moscow – Bournemouth 2007-08 Oliver Taylor in BETM: Dossier
2 Oliver Taylor in BETM: Dossier Content
References From Wikipedia, the free encyclopedia...... 5 Oliver Taylor related entries on YouTube...... 6
Competitions Fonteyn Nureyev Young Dancers Competition...... 7 Bright Future For British Ballet...... 7 Young Ballet dancers competition returns...... 8
News & Articles BETM Audition in Exeter, September 2006...... 9 A Hundred Hopefuls step out in pursuit of West End Stardom. . . 9 Doing Hamlet While Running the New York Marathon: Finding and Training the Billy Elliots...... 9 Happy Second Birthday, Billy Elliot!...... 12 Two New Leads Dance Into Billy Elliot at Victoria Palace Theatre. . 13 Meet the Boys: Oliver Taylor (from the official BETM site). . . . . 14 Ask a Star: Ask the Billys of Billy Elliot!...... 15 Devon's Billy Elliot...... 17 Passion To Dance Is A Surge Of Electricity...... 19 Oliver Taylor's Last Night: Rhapsody in Russian Blue...... 21
Events Churston Ferrers Grammar School: Billy Elliot...... 33 Ready Steady Cook...... 34 Take a Bow...... 35 Billy Elliots at BAFTA's 60th Birthday...... 36 Mousetrap Theatre Projects Celebrates Ten Years...... 38 Happy Birthday Brucie!...... 40
Olly Taylor: Views and Reviews from BETM Complete Forum...... 41 The First Night...... 43 June...... 48 July...... 52 August...... 56 September...... 66 October...... 72 November...... 77 Towards the Last Night...... 87 The Last Night...... 91 Two Actual Last Shows...... 104 Different Billys & Olly...... 107
3 Oliver Taylor in BETM: Dossier
4 Oliver Taylor in BETM: Dossier From Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Oliver_Taylor_%28actor%29
Oliver Taylor (actor)
Bagpuss Oliver (Olly) Taylor is an English stage actor and dancer, best known for playing the title role in Billy Elliot the Musical at the Victoria Palace Theatre, London.
Biography
Oliver Taylor was born in Torbay District Hospital on the 10 March 1994. Oliver attended Tower House Junior School [http://www.towerhouseschool.co.uk/] and then, after a successful eleven plus exam, Churston Ferrers Grammar School [http://www.churstongrammar.com/]. He has lived with his parents and an older sister in Paignton, Devon since birth.
Career
Oliver Taylor began dancing at the age of 3 when his sister's dance teacher invited him to join in. He attends Buckingham Dance Studios in Paignton. In 2006, Oliver won the Fonteyn Nureyev Young Dancers Competition (Junior level) run by the Royal Academy of Dance and was awarded the Young Dancer of the Year title. Two years later he competed in the Final of the 2008 Fonteyn Nureyev Young Dancers Competition (Senior level). He is a mid associate of the Royal Ballet. He has performed in a few theatre productions near where he lives. He played the part of the Boy in the Snowman, the Nutcracker in The Nutcracker, and Franz in Coppelia. He was featured in Ready Steady Cook (2006) and took part in a children's BBC programme Take a Bow (2007). Oliver successfully auditioned for Billy Elliot the Musical in September, 2006. After training since January 2007, Oliver gave his first performance on Monday, 18 June 2007. On 1 December 2007, the company official bade farewell to Oliver along with Ryan Longbottom, who played Michael and Leigh Laurie, who played Debbie. Oliver's 50th and final performance was 1 December 2007. Oliver aspires to become a principal dancer with the Royal Ballet.
5 Oliver Taylor in BETM: Dossier See also
Billy Elliot the Musical Billy Elliot the Musical casts
External links Billy Elliot the Musical official site [http://www.billyelliotthemusical.com/] Billy Elliot the Musical - Fun Forum [http://www.billyelliotthemusical.me.uk/forum/index.php] Fonteyn Nureyev Young Dancers Competition official site [http://www.youngdancers.org.uk/] Meet the Billys: Oliver Taylor [http://www.billyelliotthemusical.com/billy_text_open_OLIVER.swf] BBC story about Oliver Taylor [http://www.bbc.co.uk/devon/content/articles/2007/08/09/billy_elliot_feature.shtml] Oliver Taylor's Last Night: Rhapsody in Russian Blue [http://valchess.livejournal.com/107443.html]
[[Category:English stage actors|Taylor, Oliver]] [[Category:Living people|Taylor, Oliver]] [[Category:1990 births|Taylor, Oliver]] [[Category:People from Paignton|Taylor, Oliver]]
Oliver Taylor related entries on YouTube:
“Take a Bow” (BBC - CBeebies): http://www.youtube.com/watch?v=h23Tzo5Wx_c
“Electricity” (Live audio & “Take a Bow” video): http://www.youtube.com/watch?v=A1X1WCWpDlI
“The Letter” (Live audio & ptotos): http://www.youtube.com/watch?v=ogzxWbB6ppc
“The Stars Look Down” (Live audio & “Take a Bow” video): http://www.youtube.com/watch?v=vl6KQx8Jap4
“The Letter Reprise” (Live audio from the Last Night & photos): http://youtube.com/watch?v=fGGP3G1NB48
“Last Night Finale”: http://www.youtube.com/watch?v=zQ_ubcI4K-g
“Express”: (Live audio from the Last Night & Ryan’s photos) http://www.youtube.com/watch?v=O1UfGd5mDVE
Billy Elliots at BAFTA's 60th Birthday: http://www.youtube.com/watch?v=_BgC9FPp80A
Billys on Bruce Forsyth 80th BBC show: http://www.youtube.com/watch?v=pRj7hY1KuQA
Pierce Brosnan spotted in London: http://www.youtube.com/watch?v=HXECODptYsg
6 Oliver Taylor in BETM: Dossier
Fonteyn Nureyev Young Dancers Competition
Bright Future For British Ballet
http://www.youngdancers.org.uk/History/PastYears/default.phuse
Sunday, 9 April 2005 saw the Final of the first ever Fonteyn Nureyev Young Dancers Competition at the world famous Lowry Theatre, Salford Quays. After individually working with legendary Gillian Lynne CBE, candidates performed one of her four exclusive variations choreographed especially for them in front of an audience of parents, friends and supporters of the competition, including: Wayne Sleep, OBE; Judges, Sir John Tooley; Chairman of the Rudolf Nureyev Foundation; David Bintley, Artistic Director of Birmingham Royal Ballet; and Dame Antoinette Sibley selected two winners, one from each level. The Young Dancer Title and prize money went to Oliver Taylor (Level 1) and Claire Jobanputra (Level 2)
Photo: Brian Slater
7 Oliver Taylor in BETM: Dossier Young Ballet dancers competition returns
http://londondance.com/news_details.asp?NewsID=7484
22 August 2007
Brian Slater The Fonteyn Nureyev Young Dancers Competition, organised by The Royal Academy of Dance (RAD), in association with the Rudolf Nureyev Foundation will take place again in 2008. The first competition was held last year. It has been set up to focus attention on the popularity of ballet with young people and to identify and nurture talent for the long term future of British Ballet. The competition gives young dancers the opportunity to work with dance professionals and to experience the thrill of performing in front of a live audience on professional stages.Young dancers aged between 10 and 13 years will travel to heats across the UK and selected finalists will compete for the 2008 Young Dancer title and the prize money of £1500.
Last year’s winner, Oliver Taylor from Devon, has just made his debut as Billy in Billy Elliot the Musical at The Victoria Palace Theatre. His mother Katheryn Taylor said “Since winning the competition his [Oliver’s] personal confidence and his belief in his own dance ability has increased, although he remains grounded and modest. When at school he is now open and proud of his dancing and no longer hides it for fear of teasing. Winning the competition also kick started a truly remarkable year for him, with offers to appear on television and now Billy Elliot. It isn't all about winning though - just taking part, having such expert teaching and getting up on stage and entertaining people is just as valuable an experience.”
All of the other finalists have since gone on to pursue professional training at some of Britain’s top vocational schools.
Gallery: The Competition 2006: http://www.youngdancers.org.uk/TheCompetition/Gallery.phuse Gallery: The Competition 2008: http://radfonteynnureyev.fotopic.net/ Videoclip: Unison Dance (2008): http://www.youngdancers.org.uk/thecompetition/reviews/unisondance.phuse
8 Oliver Taylor in BETM: Dossier
BETM Audition in Exeter, September 2006
A Hundred Hopefuls step out in pursuit of West End Stardom
From This is Exeter, 18 September 2006
Associate Director Julian Webber:
“We’re looking for kids with potential. We won’t find anyone who’s good enough to do the show, but we will find kids with promise. From one hundred we might find two or three who we will then put in quite a hardcore training regime for six months, either in London or with a teacher in the area they live. We will put about 15 kids into training for six months and, at the end of that, get rid of about 12 of them.”
Excerpt from "Doing Hamlet While Running the New York Marathon: Finding and Training the Billy Elliots"
by Adele Bailey (director of the National Council for Drama Training), occasional research paper 17 for the National Academy for Gifted and Talented Youth (NAGTY),
December 2006
The audition process
Since the auditions began for Billy Elliot in the autumn of 2003, over 5,000 children have been seen. This represents at least eight large auditions every year (100+) and numerous private visits to dance schools and youth clubs. I was invited to the auditions held in September 2006 at Exeter. The casting team – which consisted of Jessica Ronane, Lynne Page, her dancing assistant Matt Cross, Associate Director Julian Webber, Children’s Musical Director Ron Crocker and Jessica’s assistant Clemency Carlisle - had never before been to the South West of England in their three years of casting the production. Dance teachers throughout the region had been asked to suggest to their talented boys that they apply for audition. Ninety-four boys had sent in their photos and details and had been sent directions to Maynards School, a private girls’ school with a large gymnasium where the auditions were held. The boys were scheduled into seven sessions, with the first session at 10.00 am and the last beginning at 5.00 pm. The boys were all given labels with their names, and the casting team had lists containing the boys’ names, ages, and the types of dance and skills level reported by their dance teachers. Once the boys were shepherded into the gymnasium in groups of between 11 and 17, Julian Webber went up and spoke to them quietly and explained what he wanted them to do. So that the panel could gauge character and acting ability, the boys were asked to run one at a time before the casting team and shout three times, with increasing concern, that “the building’s on fire!”
9 Oliver Taylor in BETM: Dossier Throughout the day Julian Webber would offer further direction to those who seemed to be struggling with the game, and asking questions of those who interested him. The next stage of the audition had been described to me by Lynne Page as designed to: look at their dancing background, any gymnastics or sports, their facility for movement. We get them to do a funky routine, with a bit of shadow boxing, kick boxing, then an improv section where they can do whatever is their forte – break dancing, acrobatics, anything. Ten minutes were then spent with Lynne Page and Matt Cross (a professional dancer, and himself a former child performer) going through a short punchy street dance routine, with four sets of eight-counts, which most of the children certainly found challenging. Once the majority could (sort of) handle the choreography, they ran through it several times with music. The boys were asked to perform the routine for the casting panel in groups of three. Then with the music continuing, they were told to improvise any dance moves or acrobatics they wanted to do – back-flips, front-flips, break dance, hip hop – and if they were having difficulty, to imagine they were at home in their bedroom, dancing to their favourite piece of music. It was during this section that the majority of the boys were observed to have great difficulty, with not just the newly learned choreography but also – and somewhat surprisingly – the free dance. The boys were asked “Hands up who does dance more than once a week?” to which the majority would respond. There was however a much smaller response to the question: “Hands up who wants to spend five hours a day practising their dance?” The boys were then asked to sing a song. It was evident that very few either had a song prepared, or even knew the words to any songs. This should not have been surprising, but it was. I had been told earlier in the summer by Mary Hammond, the vocal coach on the production: one of the things that shocked me when I went around auditioning people everywhere in November (2003): I asked them to sing carols, and they didn’t know any. None of them were having ordinary school singing. Time and time again I asked “what singing do you do in school?”, and they don’t. (In the training process for Billy Elliot) half the time I’m making up for a curriculum they don’t get. She also said that when they first came to her for training the young boys did not know the sound of their own singing voice. This was borne out by my observation at the Exeter audition, where the great majority of young auditionees showed little confidence or ability in this area. The boys were then sent to the edge of the room to talk amongst themselves, while the casting team spent several minutes conferring. With most of the groups, two or three boys would be asked to stay on and the rest would be sent home – with great courtesy and with sensitivity to their disappointment. The boys who remained were asked about their tap and ballet skills and told to change into the appropriate shoes. Lynne Page then worked with them on short tap routines to gauge their skill level. Ballet positions would be attempted to determine their strength and balance. It was a very long day, the casting panel sitting through the same process seven times watching boys of widely varying ability. By 4.00 in the afternoon already sixty boys divided into five groups been put through their paces. The panel were becoming despondent – while a few boys had been interesting, so far no one had sparkled. One good-looking and very promising young boy turned out to have real problems in the dance routine with opposition (opposing arm and leg) which was considered a big problem – a panel member noted during the evaluation – for a dancer “that should be in your body”. Then in the four o’clock group, two boys shone. During the early “the building’s on fire!” stage, one boy elicited the warm approval of Julian Webber: “Genius acting!” The short boy had a cheeky personality, a flair for comedy, and showed real potential in tap. He was worth considering for Michael, Billy’s friend. It was the second boy, though, who made the hair stand up on the back of our necks – when he danced and moved through space, one’s eyes were drawn to him; he was extremely watch-
10 Oliver Taylor in BETM: Dossier able. Confirming what we were seeing, his notes in the panel’s typed list said “RBS wanted him but said no!”. This quietly confident twelve year old had already turned down a place at the Royal Ballet School. The two boys were asked to return the next day, a Sunday, to be looked at more closely by the casting panel.
Recall audition The next morning, the boys were given solo workshops. While one worked on a dance routine in the gymnasium with Lynne and Matt, the other was in the studio with Julian Webber and Ron Crocker working on songs from the score – Expressing Yourself and Electricity. Even without the benefit of school singing, the boys proved to have good voices, though they too were not used to their singing voices and had to be steadily cajoled to sing louder. It was the acting workshops, however, which proved to be the most revealing. Julian Webber has worked with all nine of the Billys, and has conducted the majority of the Billy auditions around the UK. From this experience, he told me he has written 100 pages of a yet-unpublished “How to Teach Stanislavski to 12 year olds”, and his work with the Exeter boys had them working towards truthfulness, the creative objective, internal and external action. He had them paraphrasing the songs, asked “what do you want from the person you’re talking to?” and “don’t show me, just think it!”. It was indeed a Stanislavski master-class for pre-teens. For an hour each, he worked with the two boys, sometimes giving them notes on the songs (“maintaining eye contact shows that the listener is getting what you’re saying”). He spent considerable time with one boy explaining that the show has lots of rude words – “we get letters all the time” – and he would be required to swear … and a lot. This proved initially to be an uncomfortable experience for the boy, whose most rude expression to date had been “Criminy cream cracker!”. By the end of the hour, however, Julian had the boy staring him in the face, six inches away, spitting out “I hate you. You’re a bastard!”, which Billy screams at his father at the end of Act One. He got the boys to go out of the room, come in, put on Julian’s thick rimmed glasses, peer at the four adults around the room and exclaim “Bloody Hell!”. One boy had difficulty with this, and confessed that his Mum told him he was very self-conscious. Julian explained that 99% of acting is controlling one’s self-consciousness. “Once you start thinking about other people, you lose your self-consciousness. When you put your attention on something else, you stop thinking about yourself.” Trying a different tack, he asked the boy to open a letter which said he’d won a million pounds and again to shout “Bloody Hell!”. Julian told him to make it louder, more exciting and excited. He was trying to work towards truthfulness: “Theatre is not about pretending – really read the letter.” And when the boy wouldn’t wait to finish the scene before self-criticising his performance – Julian told him to “finish the moment”. Consciously theatrical gestures and movements resulted in “Don’t show me, just think it.” He told the boys the one sentence motto of the Julian Webber Academy of Acting was “acting is all in your head”. The two boys were brought together at the end of the recall audition, to learn a short tap routine. The boy with the most tap experience showed some difficulty picking up the choreography. Lynne Page explained that boys who already had learned tap had problems “unlearning”. Because small regional dance schools usually train children towards RAD or ISTD examinations, they tend to do various routines by rote to warm-up, which can become ingrained in muscle memory, and which take time to dispel. At the end of the four-hour session, the boys went home and the panel returned to London. One boy was invited with his parents to London to see the show, and has since been taken into intensive training, with late spring 2007 pencilled in for entry into the show. The other will take intensive tap lessons and be re-auditioned. So the casting team did extremely well in Exeter.
11 Oliver Taylor in BETM: Dossier
Happy Second Birthday, Billy Elliot!
http://london.qa.broadway.com/blog/id/3007325/HappySecondBirthday,BillyElliot%21
May 14, 2007
The award-winning Billy Elliot turned two on 12 May at the Victoria Palace Theatre.The adorable young members of the cast attended an intimate party, where their glee was palpable. We also caught up with Oliver Taylor, the latest young boy to take the title role in the production, who celebrated with the ballet girls and an enormous birthday cake! Happy birthday, Billy!
Billy Elliot star Oliver Taylor celebrates with the cute ballet girls.
Oliver Taylor and Travis Yates cut the cake as the ballet girls look on.
Photos by Alistair Muir
12 Oliver Taylor in BETM: Dossier
Two New Leads Dance Into Billy Elliot at Victoria Palace Theatre
http://london.qa.broadway.com/blog/id/3007377/TwoNewLeadsDanceIntoBillyElliotatVictoriaPalaceTheatre
By Matt Wolf
May 18, 2007
Corey Snide and Oliver Taylor, both aged 13 years, are the latest boys who have been chosen to play the title role in Lee Hall and Elton John’s award-winning Billy Elliot. Snide received a standing ovation for his debut performance as Billy Elliot on 16 May. Taylor’s first performance will take place later this year. Snide is a New Yorker, who began dancing at the age of three and trained in tap, jazz, ballet, street dance and contemporary at Eleanor’s School of Dance. He has taken part in competitions all over the U.S., winning many titles and awards. Taylor began ballet training at two years old and is now a mid-associate of the Royal Ballet. Among numerous awards received thus far for his dancing, he competed in the RAD Fonteyn Nureyev Young Dancers Competition for Great Britain and the Channel Islands and came first in his age group.He has performed in local theatre productions in his home county of Devon, playing the Boy in The Snowman, the Nutcracker in The Nutcracker, and Franz in Coppelia.
Dancer Den
Snide and Taylor will share the role with Leon Cooke, Dean McCarthy, Layton Williams and Travis Yates. Also in the cast are Sally Dexter (Mrs. Wilkinson until 2 June), Jackie Clune (Mrs. Wilkinson from 4 June), James Gaddas (Dad), Chris Lennon (Tony), Ann Emery (Grandma), Trevor Fox (George), Alex Delamere (Mr. Braithwaite), Sara Poyzer (Mum) and Isaac James (Older Billy). Directed by Stephen Daldry, Billy Elliot is this month celebrating its second birthday, having played to over a million people at the Victoria Palace Theatre since opening in 2005.
13 Oliver Taylor in BETM: Dossier Meet the Boys: Oliver Taylor (from the official BETM site)
http://www.billyelliotthemusical.com/billy_text_open_OLIVER.swf
Where did you grow up? Torbay, Devon
How did you get in to acting/dancing? When I was three I wathed my sister and the dance teacher asked me to join in
When you are not performing or rehearsing to the show – what do you like to do in your spare time? I like to read and play computer games
Are there any dancers that you particularly admire? Rupert Penifather and Lauren Curthbertson
What advice do you give to aspiring performers? Work hard and never give up
What is your favorite film/song/book? I like books by Garth Nix
What made you want to be a performer? I’m inspired by watching it
If you weren’t a performer, what else would you like to do as a profession? I’m not sure really, maybe a swimmer
What was your first big break? Getting the part in Billy Elliot the Musical
What are your career highlights to date? It was the Fonteyne Nureyev dance competition
What was the thing you saw on stage that has had a big impact on you? Royal Ballet
If you could meet anyone living or dead who would it be and why? Eva Cassidy because she was an amazing singer
What is the funniest/most notable thing that has happened in rehersals/the show to date? I met Barbra Streisand and was invited to her concert
What are your future plans? To carry on acting and dancing
14 Oliver Taylor in BETM: Dossier Ask a Star: Ask the Billys of Billy Elliot!
http://london.broadway.com/ask_a_star/id/3007814
One of the lovelier aspects of the West End’s hit musical Billy Elliot is that the show rotates a group of young actors in the lead, thus allowing them to display their talents to appreciative audiences every night. In that same sharing spirit, we’ve made this particular installment of our regular Ask a Star feature into a very special Billy Elliot bonanza, featuring the complete quartet of the show’s current stars. They may be young, but—boy—are they experienced… See if the Billys answered your question!
Oliver Taylor is a mid-associate of the Royal Ballet. He competed in the RAD Fonteyn Nureyev Young Dancers Competition for Great Britain and the Channel Islands and came first in his age group. Before Billy Elliot, he appeared in local theatre productions of The Snowman, The Nutcracker and Coppélia.
From Jon: What is your favourite song or songs, not including Billy Elliot songs? Oliver responds: I’ve got lots of different types of music on my
Broadway.com iPod, but I really like easy listening music where I can close my eyes and pretend I’m on holiday! I like Eva Cassidy.
From Caroline: Being very ballet orientated, do you wish to fulfil a career in musical theatre or ballet? Oliver responds: I’d really like to keep my options open and do as much as possible. I really enjoy musical theatre, but I’d like to keep up with all my dance especially ballet; as well as singing and acting.
From Lauren: Were you nervous when you first find out you had been chosen to play Billy Elliot? Oliver responds: I was very excited. I was really looking forward to getting started and didn’t really feel nervous. I didn’t know how hard we would have to train!
From Michael: Do you want to be a star of the stage when you get older? Oliver responds: Yes, I really hope I get the opportunity to keep performing. I’d like to do as many different things as possible e.g. film, TV etc as well as theatre, and I hope I get the chance.
From Richard: Are you surprised at the amount of support of the show from so many fans around the world? Oliver responds: Yes, it’s always amazing to hear where everyone comes from and we get such a lot of support from the audiences. I met a school group that had come over from Greece once!
From Liam: What advice would you give to aspiring performers? Oliver responds: Be determined and never give up. Work hard/play hard.
15 Oliver Taylor in BETM: Dossier From Jenny: What do your mates think of you being in a West End show? Oliver responds: My friends are all really supportive. They don’t treat me any differently; I don’t think some of them really understand what I’m doing.
From Luc: What was the first thing you did after you found out that you got the role of Billy? Did you think that you would get the role? Oliver responds: I was really happy. We told all my friends and family and had a few people over to celebrate.
16 Oliver Taylor in BETM: Dossier Devon's Billy Elliot
http://www.bbc.co.uk/devon/content/articles/2007/08/09/billy_elliot_feature.shtml
Radio BBC Devon's Jo Loosemore talks to Devon's Billy Elliot:
Complete audio record (requires Real Player): http://www.bbc.co.uk/devon/realmedia/entertainment/billy_elliot.ram
Oliver Taylor rehearsing
A Devon teenager has taken on the physically demanding lead role in the West End production of Billy Elliot the Musical. Oliver Taylor now has his sights set on becoming a principal dancer with the Royal Ballet Company. You've solved the problem like Maria and seen Joseph's dream come true, but what do you know about Billy Elliot the Musical? We've gone behind the scenes of the London stage production to meet the Devon boy who is now playing Billy Elliot in the West End. Thirteen-year-old Oliver Taylor from Paignton shot to fame after winning the 2007 Fonteyn Nureyev Young Dancers Competition, run by the Royal Academy of Dance. Oliver shares the lead role with three other boys and usually performs two shows every week. The part is physically very demanding for someone so young, with the character of Billy on stage for 99 percent of the time during the 90 minute show. As well singing and acting, the boys who play Billy must be able to dance ballet, tap, jazz and modern styles and perform acrobatics. "You need a certain level if physical ability, it's very demanding," conceded Oliver. "If you ever ask a boy to try out ballet they'll probably put their hands on their head, twiddle around and pretend they're doing a tu tu - but it's not like that. "To be a male ballet dancer you have to be extremely athletic - they are probably stronger than footballers. So if you wanted to get fit and muscly, I think I'd advise you to be a ballet dancer." Oliver has been dancing since he was two-years-old, but took it up almost by accident after his sister's dance teacher spotted him waiting in the wings during a class. Winning the Royal Academy of Dance competition kick started his career, but initially has wasn't sure about auditioning for such a big role. "First of all I thought maybe I wouldn't audition because I knew about the commitment and being away from home," explained Oliver. "But I said to mum that I might like to try it out and even if I didn't get through it, it would be an interesting experience.
17 Oliver Taylor in BETM: Dossier "I can't remember exactly how many auditions I did, it's all a bit blurry." Oliver began training for the part of Billy in January 2007, but it wasn't until June that he made his debut on the stage at the Victoria Palace Theatre. "It was around September when I heard that I'd got in. I started training in January when I joined prep school - which is conditioning and strengthening , then I started having singing and dancing lessons and learning the show. "My first night was on 18 June. I was pretty petrified coming up to it. I've done stage work before, but it wasn't anything like this. "I was very nervous, there were so many people out there who had paid. But by the time I got to the second or third scene, I had sort of warmed up to it. "The audience were really positive and it felt like they were on my side. They didn't really notice if you went wrong and they cheered so much it was a wonderful feeling. "I really loved it and I couldn't wait to do the next show. "Most of my friends are really like wow, I can't wait to come and see you and everything. My family are pretty much the same. I'd say they are proud." Having succeeded on the West End stage, Oliver now has is sights on becoming a principal dancer with the Royal Ballet Company. Meanwhile his personal highlight since becoming Billy Elliot is a face-to-face meeting with the legendary singer Barbara Streisand. "We were informed that Barbara Streisand was watching the show, I couldn't believe it because I had seen her in 'Meet the Parents'. I thought I must do a really good performance, unfortunately I dropped my chair. "Afterwards her tour crew invited me to her concert as a surprise for her. We watched the show and then they called me back to her dressing room. "It was amazing, she's such a nice person. She asked me about the show and told me about similar things she'd done. Then she gave me her autograph which was really nice."
18 Oliver Taylor in BETM: Dossier Passion To Dance Is A Surge Of Electricity
http://www.thisisdevon.co.uk/ (not available anymore) 13 October 2007 Mirrors cover two walls in the studio, reflecting the movements of the dancers. They point their toes, lift their arms in a circular swoop and stretch out their satin-clad toes in synchrony. Their reflections make it seem like there are many more girls in the room. Pacing beside them and mouthing encouragement is Pollyanna Buckingham, who herself danced on the stages of Europe and now teaches the next generation of dancers. One of the girls sinks effortlessly into the splits, her legs bend out in parallel with her horizontally stretched arms. This flexibility is something dancers are born with, along with the passion for dance which will see them through the daily hours of practice. The girls - and one boy - all have ambitions to become professional dancers. Buckingham Dance Studios in Paignton is their second home. They come in each day after school or college for training, and each Saturday travel to London for coaching with the Royal Ballet's outreach programme, with a view to going on to a career in dance. Ellie Sharpe, who has just turned 16, is the latest of Pollyanna's pupils to pack her bags to join the ballet. She starts this autumn with the English National Ballet, and is looking forward to a routine of dance, seven days a week, and not too much cake. "You can't eat too much because whenever you do a pas de deux and a guy grabs you around the waist you are going to throw up," she says. She seems fairly cheerful about the prospect. The only boy in the group, Oliver Taylor, is leaping about the room, doing the splits in the air for the photographs, as the girls twirl around him. He is back home with his family in Paignton in a break from appearing as Billy Elliot at the Victoria Palace Theatre in London. Now 13, Oliver started dancing with Pollyanna at the age of two-and-a-half after he came along to watch his older sister Emily at her dance classes. "Oliver was flitting around when he should have been sat watching and the teacher said, 'come and join in'. After that there was no stopping him," recalls Pollyanna. "He has a great natural talent for dance."
19 Oliver Taylor in BETM: Dossier Last year he won the younger age group in the first ever Fonteyn Nureyev Young Dancers Competition, a biennial contest organised by the Royal Academy of Dance to give encouragement to the most promising young ballet dancers aged between 11 and 13. Also here is Matilda Naylor, a runner-up in the older age group of the competition. She enjoyed the final at the Lowry in Manchester where the shortlisted dancers worked with Gillian Lynne, most famous for choreographing the hit musicals Cats and The Phantom of the Opera, and who at 81 is living proof that dance keeps you young. "She is so amazingly flexible," recalls Matilda. "She walked into our class and lay on the floor and stuck her legs in the air. "She is so nice to work with. Before we went in for our coaching, we were very nervous and she made us feel very relaxed." Elizabeth Thorpe was Pollyanna's third finalist in the competition, named after the celebrated 20th century ballet partnership Margot Fonteyn and Rudolf Nureyev. "I had two of them in the Level 1 competition and one in the Level 2 competition, which was quite an achievement," says Pollyanna. "I promised them that if any of them got through to the final I would go to Manchester to see them in it, which was very exciting." Pollyanna is planning to enter pupil Lucie Dennis in Level 1 of the next competition (the 11- 12 age group) and Oliver and Elizabeth, who took part last year, will compete again in Level 2 along with another pupil, Georgia O'Reilly. For Oliver, winning last year's Fonteyn Nureyev competition led to the invitation to audition for Billy Elliot, a role demanding not just dancing, but acting, singing and acrobatics. In one scene he has to glide across the stage on a wire. "I quite like heights," he says. He is active for most of the three-hour performance. "You have to have the stamina to get through a three-hour show," he says. "I think what they were most worried about was my stamina, because I wasn't very fit." He gave his first performance in June, and Pollyanna and his colleagues at the dance school travelled to see the show in July. Another appreciative audience member has been American actress and singer Barbra Streisand, who came along with Meryl Streep to watch the show. "She was very nice," says Oliver. "She used to dance. I was like 'who's Barbra Streisand?' and they were explaining to me the many films she had been in. She invited me and my house parent to come and watch her concert around the corner." The experience has been a challenge, living away from his parents and sister during the week in London and returning to Devon at weekends. He shares a house with the three other "Billys" with whom he also shares performances. They are looked after by a "house parent". "Sometimes you get tired and homesick and you want to come home, but you keep focused on the fact that it is a once-in-a- lifetime opportunity," he says. Oliver has been able to identify with the character of Billy Elliot, a young lad growing up in a mining community with ambitions to be a ballet dancer. He has been fielding comments about boys and ballet for as long as he's been dancing. "I think people who say that don't really know anything about it," he says. "I would love to see the people who have made comments to me to try and dance. They would find it very demanding. Some people throw up because they are using so much of their energy. It is a really demanding role." The way he feels about dancing, he says, is summed up in the song Electricity in the musical, when Billy sings of how he "can't explain" his passion for dance. "He sings about how he can't explain it. It is like electricity. It is like that," says Oliver. "I really can't explain it." And he does another leap across the room.
20 Oliver Taylor in BETM: Dossier Oliver Taylor's Last Night: Rhapsody in Russian Blue
http://valchess.livejournal.com/107443.html
To English readers. This essay is loosely based on the article «Юные таланты и взрослые поклонники, или о природе театральных эмоций» ("Young talents and adult spectators: an essay about the nature of theatrical emotions") published in Russian in my blog (having around 850 subscribers from Russia, UK and some other countries) on 12th December (http://valchess.livejournal.com/103544.html). The essay in English has been written after requests from Billy Elliot the Musical - The Complete Forum members and significantly differs from the Russian original. Many lines from BETM lyrics (http://www.lyricsondemand.com/soundtracks/b/billyelliotthemusicallyrics/ ) have been explicitly or implicitly used. To Russian readers/Русскоязычному читателю: Публикуемый текст нетипичен для моего журнала - хотя бы потому, что написан на английском языке. Поэтому он не появится во френд- ленте. Это эссе написано на основе моего текста месячной давности "Юные таланты и взрослые поклонники, или о природе театральных эмоций", но ориентировано на специфическую целевую аудиторию. Оно, собственно, и написано после многочисленных и настойчивых просьб со стороны членов официального Форума Billy Elliot the Musical - The Complete Forum. Я отказывался, полагая, что не способен с моим заточенным разве что на написание технических статей английским выдать адекватный моим амбициям текст. Но меня сломили угрозами пропустить исходный русский текст через он-лайновый переводчик и в таком виде читать (можно ли представить более страшную угрозу?!). К тому же, во время новогоднего пребывания в Москве я вынужден был провести неделю, не выходя из дома из-за простуды, что дало мне возможность сосредоточиться на этой работе. Мне, конечно, любопытно, как воспримут мое эссе те, кто знает о предмете очень много (не говоря о том, что десятки потенциальных читателей были сами свидетелями описываемых событий и лично знакомы с героем повествования и его родителями. Которые тоже, вероятно, это прочтут). Текст сильно отличается от исходного прототипа - в частности, убран весь "литдыбр", а сам он стал более сфокусирован и нашпигован явными и неявными цитатами из звучащих в мюзикле песен (Billy Elliot The Musical Lyrics), и к тому же я решил специально педалировать его русское происхождение. [the text was updated on 3 Feb 2008]
21 Oliver Taylor in BETM: Dossier Preface.
Oliver Taylor's Last Night at Billy Elliot The Musical on 1st December was no ordinary event. It seems that even in the morning, not many members of the audience were sober. Let us cite some typical reactions written while the scent was still hot: "amazing show", "smashing night", "by far the most emotional ever", "have seen a few farewell shows but none as heartbreaking and emotional as this one", "has to be the best I've ever seen", "I felt the theatre was full of happiness. I have never experienced such atmosphere at the theatre", "will remember it all my life", etc. And the refrain that was going on and on: "I was crying", "there can't have been a dry eye in the house", "I'm still crying now"... Obvious, if not ridiculous, exaggerations by devoted BETM fans?
Wasn't it all in fact very simple? The young performer had just become nervous and succumbed to tears, and in response so did the audience, who were sorry for him. Everybody was just emotional and – at the end – happy because it's always good to get emotional during such a thrilling occasion. That’s all… Well, this might be true, but I believe this explanation is too trivial: perhaps we Russians tend to overcomplicate simple things and always look for a bit of extra drama. As to tears, I would say they as such are usually not a big deal. Had it been so easy to evoke emotions from the public by shedding tears, then the entire cast of every show would have just cried all the time and the whole West End would have been flooded a long time ago. But perhaps, those tears were a manifestation of something much more significant – at least I would like to think so. Normally I am not emotional person at all, I do not consider myself as "a fan". Three weeks before that night I knew very little about the show and had never heard about Oliver Taylor. Then I saw three shows with him in a row, including that Last Night on 1 December. Now I am surprised at myself. For a start, I must admit that I actually share those emotional sentiments - just because I was there myself and saw the whole thing with my own eyes. When I am amazed I always try to find why. So here are my reflections made, if you will, keeping in mind the following famous (or, rather, infamous in our Russian-speaking world) words:
I disassembled music like a corpse Put harmony to algebraic test… (“Mozart and Salieri”, from “Little tragedies” by Alexander Pushkin).
Let us consider everything from two perspectives, that of an average member of the audience (it's me) and that of Oliver himself (I hope he will forgive me, a stranger, for my numerous presumptions, such as “Oliver was thinking this, Oliver was feeling that” - probably, he is more a character in this essay rather than the real Oliver). Great Russian literature will also help us with some additional allusions - although, perhaps, it will also lead this text even further away from the reality. Well, we were authoritatively told by Mrs Wilkinson: forget about content, focus on style...
22 Oliver Taylor in BETM: Dossier
Dancer
Part 1. Who are you, Mr. Taylor? Let us start, however, from outlining some background - just to give those readers, who do not know much about BETM, a flavour who is Oliver Taylor and how he managed to get the role of Billy in the acclaimed West End musical. Let me cite first the following obscure document (it's a "research paper" written for the National Academy for Gifted and Talented Youth) describing the first appearance of our hero in front of BETM audition panel. ... Never before has a stage musical relied so heavily on the abilities of a child as its principal character, on-stage for a full three hours, with choreography and acrobatics that would tax the most skilled of adult performers. West End Billys have had to master extremely difficult choreography - not just ballet, but tap, jazz and street dance, back-flips, front-flips, cartwheels, plus acting and singing. They have had to develop the stamina to carry a 3-hour musical, with two performances a week... probably the most difficult role ever created for a child. Since the auditions began for Billy Elliot in the autumn of 2003, over 5,000 children have been seen. This represents at least eight large auditions every year (100+) and numerous private visits to dance schools and youth clubs. I was invited to the auditions held in September 2006 at Exeter. The casting team – which consisted of Children's Casting Director Jessica Ronane, Associate Choreographer Lynne Page, her dancing assistant Matt Cross, Associate Director Julian Webber, Children’s Musical Director Ron Crocker and Jessica’s assistant Clemency Carlisle - had never before been to the South West of England in their three years of casting the production. Dance teachers throughout the region had been asked to suggest to their talented boys that they apply for audition. Ninety-four boys had sent in their photos and details and had been sent directions to Maynards School, a private girls’ school with a large gymnasium where the auditions were held. The boys were scheduled into seven sessions, with the first session at 10.00 am and the last beginning at 5.00 pm. It was a very long day, the casting panel sitting through the same process seven times watching boys of widely varying ability. By 4.00 in the afternoon already sixty boys divided into five groups been put through their paces. The panel were becoming despondent – while a few boys had been interesting, so far no one had sparkled. Then in the four o’clock group, two boys shone... It was the second boy, though, who made the hair stand up on the back of our necks – when he danced and moved through space, one’s
23 Oliver Taylor in BETM: Dossier eyes were drawn to him; he was extremely watch-able. Confirming what we were seeing, his notes in the panel’s typed list said “RBS wanted him but said no!”. This quietly confident twelve year old had already turned down a place at the Royal Ballet School. The two boys were asked to return the next day, a Sunday, to be looked at more closely by the casting panel. The next morning, the boys were given solo workshops... At the end of the four-hour session, the boys went home and the panel returned to London. One boy was invited with his parents to London to see the show, and has since been taken into intensive training, with late spring 2007 pencilled in for entry into the show. (From "Doing Hamlet While Running the New York Marathon: Finding and Training the Billy Elliots" by Adele Bailey (director of the National Council for Drama Training), occasional research paper 17 for the National Academy for Gifted and Talented Youth (NAGTY), December 2006) Notice that dramatic change of tone to the very expressive "the second boy ... made the hair stand up on the back of our necks" - reflecting, obviously, the unexpected emotions of the panel? With such an innate ability to immediately evoke strong feelings even from unsentimental professionals that unnamed "one boy" did arrive with a bang! Perhaps, it's time for him to introduce himself: Hi my name is Oliver. I was born on the 10th March 1994 in Paignton, Devon. I live with my parents Kathryn and David and my older sister Emily. I started ballet when I was three years old and I am now a mid associate of the Royal Ballet. Since I started I have done many competitions and have won medals and trophies for my age range. I also competed in the RAD Fonteyn Nureyev Young Dancers Competition for Great Britain and the Channel Islands and came first in my age group. Along with my competitions I have performed in a few theatre productions near where I live. I played the part of the Boy in the Snowman, the Nutcracker in the Nutcracker, and Franz in Coppelia. I have also taken part in a children's BBC programme and have been on Ready Steady Cook. I would like to dedicate my first performance to my family and my teachers - Pollyanna, Kim, Miss Jacquie and Miss Pam (who got me into ballet in the first place). They have never given up on me! (From the Theatre Programme "Billy Elliot The Musical" published to mark Oliver's First Night on 18 June 2007) The rest is history: 50 performances in the title role at BETM during five and half months followed... So, what happened at the end?
24 Oliver Taylor in BETM: Dossier
Part 2. What actually happened on that Last Night? What was Oliver thinking before his Last Night? Perhaps something like this: “It’s my very last show. The audience is going to be different from an ordinary one and have extra expectations. I must do my best. I must give it my all without even the slightest fault”. So, being as he declared in his BBC interview, usually rather relaxed during regular shows, he was under additional pressure and probably a bit more nervous than normal. His entire body must have been tuning up to that challenge with a particularly strong determination. Stephen Daldry had given a warm introductory speech - and the lights dimmed… While the show itself went very well, actually each scene (performed for the last time - therefore with extra zeal, and accompanied by extra applauses) required a higher than usual state of emotion. The last big solo number - "Electricity" - was performed extremely well in all its aspects and resulted in a huge ovation. It was a real triumph! In that electrified atmosphere the last line “I’m free”, delivered with panache, sounded as if it had an additional subtext: “I did the job and now I’m free from all that subconscious tension”. Inevitably – as just a matter of psychophysiology - after that his nervous system reacted by relaxing: all the main things seemed to be over. It just remained to do the rest of the scenes that – being of course emotional by their “farewell” nature - did not include risky stunts and therefore should go smoothly. When the 'farewell scenes' did start, all of a sudden Oliver found that there were not just characters on the stage; all the performers were also there in their own right. They did have their own strong feelings and were saying their own farewells to him – not just to Billy going to the Royal Ballet School but to him, Oliver, going to… where? Back to his home? Ballet girls – the real Ballet girls - wanted an autograph: whose? – just Billy’s? Or Oliver’s too? Debbie gave Billy a hug. Or that was Leigh hugging him - Olly? Finally, not just Mrs. Wilkinson, but Jackie Clune herself, became uncharacteristically emotional and started crying. “You are so fxxxing special” – who said that? And to whom? No wonder Oliver seemed to get confused, his already mixed emotions were being stirred. Perhaps, he would have successfully handled either Billy or himself, but he found that he couldn’t control both simultaneously; he just ran out of the required nervous resources – they had completely been exhausted by the time. He was desperately trying his best to get calm, taking pauses and almost whispering his lines…
25 Oliver Taylor in BETM: Dossier There was no chance for him to regain composure backstage, as he had to remain at the proscenium. Perhaps, he could have done so during “Once we were kings”, but the farewell to the miners/ensemble with their dignified and sad song did not help him to calm down either - indeed, it's a feeling that you can't control. By the start of the “Letter Reprise”, he looked really inconsolable and after forlornly delivering the first couple of lines, he could hardly utter a word, let alone sing. It must have been embarrassing for him: what if the audience was thinking that the actor had failed to perform the climactic final scene? And what about his “professionalism” that had always been a subject of amazement for adults? Note that his partner, Sara Poyzer, being herself in tears, nevertheless delivered her vocal lines very well – in fact, even better than usual. That’s the adult professional - while he’s just a kid, he's only just a bairn who forgot the first commandment: "at least pretend you're doing fine... and smile, smile, smile". If only he could dance during those farewell scenes! One could only imagine what a dance sensation he would have produced expressing himself at the peak of that emotional state. However, no dances were left for him to do, and that most natural way for him to channel his emotions could not be used; he had to sing and deliver his lines in a straightforward way through that fragile vocal apparatus so open for disruption by gasps and tears – and then those tears did appear. What a shame!
Well, let us now consider this ordeal from the perspective of those who were on the receiving end. It’s very easy to speak on behalf of the audience on that matter: such imagined conclusions made above about that "failure" could not have been farther from the truth. Art (and life, for that matter) is just not so elementary. Oliver's gasping and whispering in the ‘farewell to Mrs Wilkinson’ scene brought an additional and very realistic tension, as well as unusual tenderness, into the scene, thus enriching the story, and that unconventional duet with Dead Mum produced an incredibly powerful emotional wave that overwhelmed a good part of the audience into a kind of half-fainting trance: many people were even afraid to breathe. That was really strange: even as the performer looked like he had lost control over himself, his control over the character (and, for that matter, over the audience) seemed to become stronger (he really just grabbed the audience by the throat as Arthur Miller used to say). Indeed, the battle's lost but not the war. Perhaps the key to that mystery was that having broken that very commandment from Mrs. Wilkinson –"at least pretend you're doing fine"... - he remained faithful to another, more important, one from Dead Mum - "In everything you do always be yourself". The result of that twisted logic of a genuine art was that the supposed “failure” only added something really special to the scene because somehow it remained within the context of the story - moreover, perhaps the story itself even gained additional dimension. Lost some lyrics? Well, the scene's meaning and spirit were not lost at all. By this time everybody in the house already knew very well that Oliver could sing like an angel (and dance like a devil) – no new demonstrations were needed; but he produced such vivid and real feelings from the depth of 26 Oliver Taylor in BETM: Dossier his heart that the audience just knew: they were witnessing a very rare and exquisite event that would be difficult to top, and they were soaking up every nuance of it. The final scene with Michael/Ryan produced another significant Oliver twist. Addressing each other by their real names ("See ya Ryan" - "Yer see ya Olly"), the young actors - while visibly upset - nevertheless showed very graphically that they were handling an unusual situation in an ingenuous, ingenious, and organic way: maybe they were even able to feel that the show had already gone slightly astray, the public had too much of heavy emotions and needed alleviating. So what Oliver, instantly supported by Ryan, did (consciously or intuitively or even instinctively – who knows -- they might know, though) was to smash definitively the already half-broken wall between show’s fictional space and reality. It was actually promised earlier by the astute Mrs. Wilkinson: the whole process will coalesce - and indeed, a kind of mixed, augmented reality, embracing all the characters, performers and spectators, came into existence. In particular, the audience finally came to themselves, relieved all their repressed tears (and smiles!) in one powerful exhalation, and joined in the action, breathing a collective ‘Ahhhh’ that was also a sign of relaxation. After that everybody – on the stage and in the hall - was ready for the bravura Finale that became a celebration after all those fictional and real trials and tribulations. In the end, it looked like all the people in the house could declare “we are free” and were embracing each other – really or figuratively – because they felt uplifted and could stand as one all out together. Not an ordinary thing! Here Woland turned to the master and said: 'Well, now you can finish your novel with one phrase!' The master seemed to have been expecting this... He cupped his hands to his mouth and cried out so that the echo leaped over the unpeopled and unforested mountains: 'You're free! You're free! He's waiting for you!'... The mountains turned the master's voice to thunder, and by this same thunder they were destroyed. The accursed rocky walls collapsed. ... Someone was setting the master free, as he himself had just set free the hero he had created. This hero had gone into the abyss, gone irrevocably... (From the final chapter of "Master and Margarita" by Mikhail Bulgakov).
Den
27 Oliver Taylor in BETM: Dossier
Part 3. Why it happened - more deep into the ground. The noise is stilled. I come out on the stage Leaning against the door-post. I try to guess from the distant echo What is to happen in my lifetime.
The darkness of night is aimed at me Along with sights of a thousand opera-glasses... I consent to play my part. But now a different drama is being acted, For this one let me be. (“Hamlet”, from “Doctor Zhivago” by Boris Pasternak).
Now let us try to understand more about the nature of all those extraordinary emotions which spilled out that Night... What is the most attractive for the spectators in a live theatrical experience? The genuineness of feelings on the stage the public can associate themselves with. Billy’s story is so archetypical that almost everyone finds there something close to his or her heart that results in even stronger feelings because it means something in terms of his or her own life - it's not about the kid, it's all of us. On the other hand, young performers themselves identify with the character of Billy: first, just because of their young age (child actors almost always play themselves – at least to a certain extent); secondly, (it is not news) the young stars are in a sense "real Billy Elliots" and they do feel real on the stage. Compared to Billy they may have had happier or more well-to-do families and easier opportunities to develop their talents; however, getting this unique role was not that easy for them (many years of learning dance, all that giggling about "boys and ballet", numerous competitive auditions, long and hard training, etc.). Moreover, they are actually able to convey their feelings to the public very effectively - just because they are charismatic real talents born to boogie, not those manufactured "celebrity" mediocrities who populate so many shows nowadays. Consequently, the spectator’s sympathy with the character of Billy is intensified by sympathy with the young performer who powerfully manifests not only the character’s -- but also his own – real - feelings that like electricity spark inside of him. By the way, this effect is in principle not possible with adult actors: even if an adult performer is deep into the role, we normally do not care about his/her own feeling and circumstances. All this means that even during a regular show there are multiple emotions of different kinds flying around for the spectators to catch (that’s actually a secret of the show’s success). The 1st December show provided much more in that respect, both because it was a Last Night with its farewell specifics and because of some additional nuances of Oliver’s personality. First, his trademark interpretation of the character (a bit extra fragile, sensitive and lonely - this particular internally tormented Billy is not going to live a happy life) does assume strong emotions from both him and the audience, and on this particular occasion the intensity was multiplied by the farewell context of the show. It was only natural that it all reached such a culmination in the "Letter Reprise" scene which has always been the most emotional scene by default, and on that occasion was tested to the limits. Now it seems it will be associated with Oliver's name and his Last Night for a very long time, if not forever.
28 Oliver Taylor in BETM: Dossier
Brian Slater Secondly, Oliver's particular stage charisma is inseparable from his delicate romantic looks and a stylish balletic grace (so strikingly contrasting with the harsh realities his Billy faces). This charisma - mainly expressed through dancing - has had a really palpable influence on many spectators - namely those who especially appreciate the pure beauty of his holistic portrayal of Billy ("the way God made pa"). That beauty appeals to those sensitive souls on a very personal level and has been very effective in getting under their skin. One can argue about the extent to which beauty is in the eye of beholder because of the nature of that particular eye, but it alone is so sharply manifested in Oliver's pas seuls, and associated by many spectators with a kind of radiated light (one can find a lot of descriptions like "Olly was glowing/lighting up/beaming" in reviews) that it allows those people to be transported for short but precious moments and literally moves them to tears (another typical line from the reviews: "His Electricity was so beautiful that I cried"). I believe there were quite a few such people in the theatre that Night (unexpectedly, as it turned out, yours truly actually was one of them). Finally, a particular development of the role over time in the context of Oliver's rather short (less than 6 months!) run at BETM should be taken into account. Generally speaking, the role is like a human being: it has a birth, a childhood, growing up to a certain maturity, and then a gradual ageing - to a natural death. Every phase takes its time, and the performer becomes subconsciously programmed to that natural development of the role. The role matures; the performer matures at the same time. His progressive understanding of the character results in better understanding of himself just because of his identification with the character. Oliver’s internal clock was probably programmed for a longer run, but he just did not have enough time to pass the last phases of the lifecycle properly, and therefore subconsciously he was not completely ready to part with the role lightly. The role did not grow up to reach its natural end peacefully; instead (by a kind of the energy conservation law – creative energy, in that case) the performer somehow was destined to grow up himself faster than he normally should and could - to overcome that cognitive dissonance aroused inside him. In fact, Oliver did exactly that during that Last Night show: in a sense, it was his forced coming of age that was radiated from the stage so powerfully. Perhaps he cried not because he was a child, but because he was ending being a child in one go: he was effectively saying farewell not just to the show and to the partners, but to his childhood (well, perhaps not to the entire childhood but just to some important aspects of it; anyway, let us not ruin such a well-
29 Oliver Taylor in BETM: Dossier composed theory by boring remarks). Indeed, we realize that our childhood is coming to the end when we are simultaneously able to look at both the past and the future. He probably did look at his past in the show and appreciated it as the most important period in his life, a once-in-a- lifetime opportunity which was always going to be with him; he looked ahead and perhaps felt a momentary fear of its existential uncertainty mixed with emptiness of tomorrow's routine life without all those tiresome but inspiring commitments. One interesting consequence is this: I believe those who had the opportunity to see his unexpected additional two shows after that official "last" one must have witnessed performances by a really mature professional who both had come to himself and to his role, and was in complete control of everything he was doing. He must have found that elusive harmony and indeed could claim with confidence, "I am free". Free from that childish insecurity and tension resulting from that existential fear that had been removed with those tears once and for all. Now he was on a solid ground to pursue his journey to greater things. Returning to the Last Night one can conclude that at the end, art collided unexpectedly with real life, and this collision produced sparks of real drama. That very graphic coming of age embedded into the fictive plot of the show not only became the fact of the young actor’s life but also captured the imagination of the spectators, many of whom could relate that condensed life process with their own natural experience of maturing. There is a temptation to interpret all this as an extreme reality show where sublime feelings of all the participants became paradoxically mixed with a voyeuristic internalisation, allowing the spectators to penetrate into the child actor’s very heart and soul that could be read as an open book. That process was delicate and very public at the same time and reminded us what a cruel thing the art can be – they love to see a heart that bleeds. That amazing openness was in a sense embarrassing and even dangerous for him (as embarrassing and dangerous are any deep and sincere feelings shown in public in our cynical age). Perhaps as a result of this ordeal, being more mature, he will not allow his heart to be so open in future roles, let alone in real life. Probably it's even not that difficult - all you have to do is learn to care less. I do not know whether Oliver at his age relies more on intuition or on reflection, or if he is even inclined to analyse in detail what happened to him. However, I believe it should occur to him that it was that impossible to hide the openness which gave him that extraordinary power over the audience. Will he keep that sublime, dangerous and elusive gift? How many "would-be- stars" try very hard to show their "openness" coupled with a lot of tears in all those "X factor" - like shows? The problem is that the public sees nothing worth reading from their open books. Anyway, on that occasion Oliver’s thoughts and emotions did transfer to the public’s minds and hearts without any effort. As a result, after that experience every member of the audience could declare that the ghost of Eva Cassidy was hovering over them with the words they all could share and repeat: "I see your sweet smile Shine through darkness Its line is etched in my memory... You're still here beside me every day So I know you by heart 'Cause I know you by heart. (http://www.youtube.com/watch?v=bCW7Mz_oXDI )
30 Oliver Taylor in BETM: Dossier
Shadowchaser I am certain I am not the only person who downloaded that Letter Reprise audio record from YouTube. I've even put it into my MP3 player. I’m not sure that I am going to listen to it – at least for a foreseeable future: it does not feel appropriate, and in addition, I just have no need for it because personally I remember it by heart. However, the very thought that I possess a rare and real artefact that is so filled with sincere and genuine feelings and does not contain even a bit of hypocrisy or lie brings peace and satisfaction into my mind. I think such a result is not at all bad for 13 year old (13 years and 9 months, actually!) performer, and he can walk proudly having spoken such a smashing and resonating Last Word. His Last Night has probably already been imprinted in the BETM mythology. It has a chance to become part of the mythology of the entire West End, provided that Oliver who once was a king there continues in realizing wholly his potential (He could be a star for all we know, We don't know how far he can go) and becoming a true star. This is by no means guaranteed: even putting aside all the uncertainties of the awkward age, a ballet soloist’s career is the most difficult and unpredictable thing in the entire performing arts business and requires not only hard work and fanatic determination but a good deal of luck in a very competitive and specific environment. For the time being, then, we will have missed him growing, And we'll have missed him crying, And we’ll have missed him laugh... What can I say in conclusion? Maybe, just an appeal to Him: Take him up and hold him gently, raise him up and hold him high. Alas, being an agnostic I do not really believe in Him. Perhaps, it would be more appropriate for me to issue another appeal: Dear beautiful future! Please don’t be cruel to that really talented lad! We need his in-div-id- u-al-i-ty. Finish!
31 Oliver Taylor in BETM: Dossier P.S. Perhaps, a comment to the last paragraph will be helpful. That "appeal to Him" refers to the excerpt from M&M cited in the end of Part 2. The line “Beautiful future! Don’t be cruel to me” (in transliterated Russian: “Prekrasnoe daleko! Ne budj ko mne zhestoko”) is from the refrain of a very popular children’s song. This song is known to everyone in Russia - I believe that during the last 20 years every Russian child had a chance to sing it. I am not sure there is an English version of it. However, let me give a reference to a recent non-canonical version of this song (which unexpectedly became a big hit on the Russian Internet last autumn) – it is performed in Latin by young soloists of the Catholic chorus from Siberia; perhaps, in such a form it is easier for English speaking people to appreciate it. Mirabile futurum, ne esto mihi durum, Ne esto mihi durum, ne esto durum. Origine ex pura ad optimum futurum, Ad optimum futurum iam nunc egressus sum. I hope those who download that MP3 file ( http://www.binetti.ru/artes/poesia/mirabile_futurum.mp3 ) (3 minutes, 4M) will not be disappointed – this is a beautiful melody resonating with the spirit of our story. P.P.S. I am very grateful to Ellen Rolland who had corrected quite a few my mistakes in English grammar and usage. She has also kindly permitted me to attach here her original drawing and poem which probably express the same sentiments - but in a more concise and beautiful form.
Last Show
The young man, boy no more, stands on the stage Looking at the empty darkened house. The crowd is gone; the show is done. This place, his home, a home no more.
He hears a quiet voice call from the wings, “Time to go, lad. Party to attend.”
Feeling something wet upon his cheek, He wipes away a single tear And steps into the future. --Ellen Rolland
32 Oliver Taylor in BETM: Dossier Churston Ferrers Grammar School: Billy Elliot
http://www.churstongrammar.com/billyelliot.htm
On Thursday 27th September, 47 Year 9 students left Churston at 8a.m. bound for the Victoria Palace Theatre in London, a trip organised by Mrs Mills. Accompanied by Mrs Shaw and Mrs Risdon, the outward journey went smoothly and everyone was excited at the prospect of seeing Ollie Taylor, a Year 9 Churston student playing the lead role in the highly acclaimed musical of “Billy Elliot”. The seats in the Grand Circle of the theatre afforded a perfect view and Ollie's first appearance on stage was greeted with warm applause from the audience. With the rest of the cast, he kept us enthralled for three hours and we were most impressed not only by his dancing, but also his singing, his mastery of the Geordie accent and his overall stage presence. After the final curtain, the cast received a standing ovation not only from the Churston supporters but from the entire audience. Mrs Mills had arranged for us to meet Ollie at the Stage Door after the performance which was a great treat, because he must have been exhausted after his energetic performance. He is obviously enjoying the experience but it was great to see that fame has not gone to his head: he is still the reflective Churston student that he always was. Congratulations, Ollie, we are very proud of you and we look forward to welcoming you back to school!
33 Oliver Taylor in BETM: Dossier Ready Steady Cook
BBC 2006
Olly was teamed with brutal Italian chef Gino D'Acampo. Their team has won. Fellow winner of Fonteyn Nureyev Young Dancers Competition 2006 Claire Jobanputra (senior level) was in another team.
34 Oliver Taylor in BETM: Dossier Take a Bow – Ollie’s Dancing Feet
BBC – CBeeBies 2007
Ollie's Dancing Feet: Ollie from Paignton dances an energetic, electrifying, modern dance and keeps his dancing partner, Georgia, on her toes as they perform a ballet routine. Video on YouTube: http://www.youtube.com/watch?v=h23Tzo5Wx_c
35 Oliver Taylor in BETM: Dossier Billy Elliots at BAFTA's 60th Birthday
http://broadwayworld.com/viewcolumn.cfm?colid=22721
November 5, 2007
Fourteen past, present and future Billy Elliot's from the multi-award winning West End hit Billy Elliot the Musical are taking part in a unique performance as part of BAFTA's 60th Birthday celebrations hosted by Joanna Lumley and Michael Parkinson, the program will air on Wednesday November 7 on ITV1 at 9PM. The 14 Billy Elliot's who are performing on the BAFTA Birthday celebrations are: Corey Snide (from Albany, America), Josh Fedrick (from Saltash in Cornwall), Colin Bates (from Baltimore, Maryland, USA), Liam Mower (from Hull), Sam Angell (Cambuslang, Glasgow), Aaron Watson (from Kings Lynn, Norfolk), James Lomas (from Sheffield), Dean McCarthy (from Clondalkin, Dublin), Leon Cooke (from Cayton, Newcastle under Lyne), Trent Kowalik (Wantagh, New York, USA), Matthew Koon (from Trinity, Salford), Layton Williams (Bury in Lancashire), Travis Yates (from Middleton, Manchester), Oliver Taylor (from Paignton, Devon). Directed by Stephen Daldry, Billy Elliot The Musical has now played to over 1.25 million people at the Victoria Palace Theatre since it opening in 2005, and on May 12, 2007 the show celebrated its second birthday. Choreography is by Peter Darling, designs are by Ian MacNeil with sound by Paul Arditti and lighting by Rick Fisher. Productions of Billy Elliot The Musical - which is produced by Working Title and Old Vic Productions plc - are due to open in Sydney, Australia in December this year, followed by a Broadway production opening in New York in 2008. Billy Elliot has just celebrated its1000th performance in London. Now booking through December 20, 2008, Billy Elliot performs at the Victoria Palace Theatre, Victoria Street, London SW1. Videoclip on YouTube: http://www.youtube.com/watch?v=_BgC9FPp80A
Backstage at BAFTA, Billy Elliot's past, present and future (Photos by Kieron McCarron)
36 Oliver Taylor in BETM: Dossier
37 Oliver Taylor in BETM: Dossier Mousetrap Theatre Projects Celebrates Ten Years
mwill Olly performed at the Mousetrap Theatre Projects Fundraiser on Sunday, in front of Simon Callow and Sir Richard Attenborough (as well as cast members of many West End shows and a VIP audience). He stole the show.
http://www.mousetrap.org.uk/articles/189
http://www.whatsonstage.com/index.php?pg=207&story=E8821195487267
19th November 2007
Mousetrap Theatre Projects, Whatsonstage.com’s adopted charity for this year’s Theatregoers’ Choice Awards campaign (See News, 5 Nov 2007), celebrated its tenth birthday last night (Sunday 18 November 2007) with a celebrity gala at the West End’s St Martin’s Theatre, home of the long-running Agatha Christie thriller The Mousetrap, from which the charity got its name. In its first decade, Mousetrap Theatre Projects has enabled some 60,000 young people to attend West End plays and musicals with heavily subsidised tickets costing just £3 to £5. Most theatre visits are supported by one of Mousetrap Theatre Projects’ 14 education, access and audience development programmes. As part of its tenth anniversary celebrations this year, Mousetrap also organised two free all-student matinees to both Billy Elliot and Wicked. Founded in 1997 by Sir Stephen Waley-Cohen, the producer of The Mousetrap, the heart of the Projects’ work is the desire to open doors to young people who would otherwise consider London’s rich cultural heritage closed to them. Hosted by actor Simon Callow and directed by David Grindley, last night’s event showcased a variety of West End productions that Mousetrap has recently visited, with musical performances by: Kerry Ellis and Dianne Pilkington from Wicked; Shaun Escoffery from Parade; Oliver Taylor, Sarah Poyzer and Kate Graham from Billy Elliot; Margaret Preece from The Sound of Music; Ruth Harris (Donna) from Mamma Mia!; Cassandra Compton from Les Misérables; and Dean Collinson from Joseph and the Amazing Technicolor Dreamcoat.
38 Oliver Taylor in BETM: Dossier Charles Edwards, the original Richard Hannay in the Olivier and Whatsonstage.com Award- winning comedy The 39 Steps, and Philip Franks and Richard Glaves, who previously starred in the West End production of RC Sheriff’s Journey’s End, also performed scenes from their respective plays. The performance excerpts were introduced by a variety of young people who have participated in Mousetrap Theatre Projects’ programmes. Lord Richard Attenborough, who was in the original cast of The Mousetrap and who is now an MTP patron, also spoke movingly about the charity’s work. The show was produced by Carole Winter of MJE Productions. The entertainment was followed by an auction of 11 items, hosted by Lord Dalmeny of Sotheby’s, which raised £71,500. The top lot was £15,000 for a guided tour of the set of the new Harry Potter film. Another bidder paid £7,000 for tickets to the current West End production of Swimming with Sharks followed by dinner at the Ivy afterwards with the play’s star Christian Slater. All of the West End’s major producers contributed to the evening, with performances or lot donations for either the live auction or the silent auction held as part of the post-show reception at the Garrick Club. In total, Mousetrap raised nearly £250,000 on the night.
39 Oliver Taylor in BETM: Dossier Happy Birthday Brucie!
http://www.bbc.co.uk/bbcone/listings/programme.shtml?day=today&service_id=4223&filename=20080224/20080224_183 5_4223_27616_85
BBC1, Sun 24 Feb, 6:35 pm - 8:00 pm
A one-off spectacular from BBC Television Centre to mark the 80th birthday of Bruce Forsyth, the nation's greatest all-round entertainer. Host Tess Daly is joined by Liza Minnelli, the cast of Billy Elliot - the Musical (Corey Snide, Josh Fedrick, Trent Kowalik, Travis Yates, Oliver Taylor), Ronnie Corbett, Paul O' Grady, Jonathan Ross, Jools Holland, Miss Piggy, Jon Culshaw, Vernon Kay and the dancers from Strictly Come Dancing, who are all on hand to celebrate this momentous occasion.
Videoclip on YouTube: http://www.youtube.com/watch?v=pRj7hY1KuQA
40 Oliver Taylor in BETM: Dossier
Olly Taylor:
Views and Reviews
2007-08
41 Oliver Taylor in BETM: Dossier
42 Oliver Taylor in BETM: Dossier
The First Night
June 18, Saturday evening
Jon01 On this special night, yet another star was born at the VP, Mr Oliver Taylor. Stephen gave his traditional speech, he spoke about how lucky we are on this show to have so many special nights, but none more special than the 1st time a young chap plays for the 1st time the title role of Billy. He was delighted that Ollie came from south west England, where Stephen comes from. He announced that Ollie is the 11th child to scale the heights of this particular role, then Stephen thanked Ollie's parents, Katherine and David, for their support of Ollie and the show. So on walked this young, rosey cheeked Devonian. When he started singing in The Stars Look Down we heard a sweet and clear singing voice with a perfect Geordie accent. It was as though he had been doing this for a long, long time, but no, this was his first time performing on a west end stage. As time went on Ollie displayed great acting ability and all round talent. He has a very clear speaking voice and also gave the impression of a very moody Billy with some teenage angst. It was quite amusing when Ollie had problems opening the curtain in the xmas scene, he pulled the cord and nothing happened, so he just walked away! His Electricity was very controlled and precise, showing the makings of an amazing ballet dancer. As Stephen said in his speech, Ollie is an extraordinary young man. Well done Oliver, you did yourself, your family and friends plus everyone else proud tonight
Gee Well yet again Stephen and his team have done us all proud with our new Billy, Ollie, what a fantastic performance, it seemed as though he was an experienced Billy, but no it was his first public performance, and Jonty was a good partner for him, i think as time goes on we will have another Liam Mower from Ollie, i did not notice any major misaps other than that already mentioned re the curtain, in Maggies scene, Ollie did drop his feathers in shine, but quickly recovered them, did not affect the show in any way, it was lovely to see that they have not lightened his hair so at the moment at least, we now have a black haired Billy, which makes his smile look even bigger, it was a pleasure to be at his first night, and first time seeing Jackie play Mrs Wilkinson and after Sally i didnt know what to expect, but i was very impressed with Jackie's Mrs Wilkinson, I think they have adjusted the sound in the theatre very much improved hopefully its not just a one off, In the goodbye to Mrs Wilkinson scene Ollie says good luck to mrs Wilkinson then grabs her arm i thought that was a lovely addition tothe scene, i have always thought there should be some kind of cuddle or a peck on the cheek at that point, but thats just my oppinion, it was a joy to be there for his first night and he done everyone proud, i have never seen so many people give a standing ovation in the grand circle at the end of his electricity, usually find the grand circle stay seated, but they couldnt last night, sorry it's not much of a review, but it lets you know that if you see Ollie perform anytime you wont be dissapointed, so well done Ollie, i look forward to seeing you in the future, i expect i shall think of a lot more that i could have said as the day goes on and my brain wakes up etc, but overall a fantastic first performance which will no doubt just get better with experiance, glad that i was there to see him, now to look forward to thusdays mattinee, that should be an interesting one travis as Micheal, but thats for thursday, all the best everyone, and again thankyou and well done Ollie.
BAGPUSS Stephen Daldry announced the 11th Billy in his by now familiar dialogue and said he was especially pleased about Oliver because he was a fellow Cornishman. There was a good presence of Forum members in rows A & B and the auditorium was pretty full. There will be plenty of 'proper' reviews forthcoming about Ollie's opening night so these are just my brief comments: Ollie was a slightly nervous opening, but the audience were willing him on and he soon overcome any obvious signs. The two things that stood out for me in respect of Ollies overall performance tonight were his dancing and singing. (No surprise there then, considering that they are the core aspects of the performance in a musical). Most Forum members have probably seen Ollie dancing in the various videos of him and he didn't disappoint. Although no expert, I thought his ballet and tap were especial good. His singing voice was in a soft tone and very pleasing to listen to. Overall, Ollie produced an excellent debut performance. There was the odd 'missed word and cue', but I doubt these would have been noticed by the general audience. If I were to be critical of any particular aspect it would be Ollies rather 'clipped' Geordie accent, which was also a bit rushed. it seems that the conversion of Cornish/Geordie is probably more difficult to accomplished than American/Geordie. A great show Ollie, well done. His family will rightly be very proud. There was a well deserved standing ovation by the whole theatre at the curtain call. 43 Oliver Taylor in BETM: Dossier
Alan Roger A few welcoming words from the Director (who it also appears hails from the West Country) ushered in Billy number 11 for his first night in front of a live theatre audience. What then to make of Oliver? Well he is certainly different from what we have seen of late. With his dark (will it remain?) slightly curly hair this marginally taller boy looked to me the veritable doppelganger of Shaun. It should be an interesting time for all when they are paired. We should all be in the land of perpetual doubletake. Oliver imparts (with the elegance of his balletic style-very a la Liam) bucket loads of charm and a touch of insouciance to his take on the role of Billy. The problem for me though (and it remained one for me throughout his performance) was that this was not a 'loon' marbled from North-East mining slag heaps but more from the gentle and slightly crumbling sandstone that I am so familiar with, having (like Oliver) also been brought up in South Devon. This is not written in criticism but more as a pointer for hopeful future development. With his grace of form coupled with beauty of movement when he dances, had I been Mr Elliot though I would have been seriously concerned about my son years ago! For example rather than ridiculing, the application of lipstick in Expressing Yourself only served to unnervingly enhance the fine boned physiognamy of this particular Billy. Clearly it is very unfair though to come to any sort of seminal or definitive appraisal on a first night. My message though to Oliver is one of 'well done on a very promising start but please roughen it up and get a little more dirty and streetwise' as I feel Billy might be seen. When Oliver danced (especially at the end of Solidarity) he did so with true poise and gracefulness. Once he has fine-tuned the dance sequences (particularly in Electricity) I feel that (like Liam was) he will be a sensational dancing revelation in the months to come. However, as we know, dancing is not everything to a portrayal of Billy but the ingrediants for the rest are clearly there (for example the responses to Debbie's flirtyness). Oliver's (almost at times) angelic singing also tended to belie for me the character roughness and edginess that he will need to develop. Oliver was well supported by the cast particularly the adult members. The interactions with Michael though were not as lively as they could have been mainly due I felt to Johnty having somewhat of a 'flat' evening compared to what I have seen before from him. Anyway well done and good luck Oliver is my message. Your debut certainly sent me home with a lot to think about. That of course is one of the main strengths of this musical and why so many of us come back for more.
andoo I was very impressed with Ollie's first night. His singing was very clear and had a good tone, and his dancing - ballet in particular - was very strong. I agree with the comparisons with Liam. I think in time he will develop into an incredible dancer, and I can see why he won the Fonteyn-Nureyev competition. The little extra touches, like holding Mrs. W's arm when saying "good luck" and the comic timing in "William Elliot Esquire" and the scene with Debbie show he is also a very promising actor. As a stage manager, I am always impressed when performers take the initiative when there is a "prop malfunction", so it was very good to see him pick up the lid of the biscuit tin from the floor after Tony accidentally knocked it over, whilst making it look totally natural and planned - the mark of a true professional. He also did his best when the Maggie Thatcher curtain didn't open properly, only giving up when he absolutely had to! As to the rest of the show ... I thought Jackie Clune was a great Mrs. W. I think I will warm to her performance even more over time. She's got the right balance of warmth and distance and I really believed her relationship with Billy. I, like several others thought that Jonty's performance as Michael a little "flat". This was the first time I have seen him in that role, and maybe it wasn't one of his better nights. My only other criticism of the show is that it seems to have a great deal more pauses in it than before. I can see what they are trying to do - add to the impact of certain lines (either for comic or emotional purpose), but last night it came across as a bit contrived, and made the action slow down a bit too much. Not sure if anyone else agrees with me? On the whole though, a fantastic show. A very promising start for a new Billy, a good performance from the rest of the cast (even though several regulars seemed to be off - I particularly missed Trevor Fox as George) and always nice to have an enthusiastic introduction from Mr. Daldry.
JW I haven't got the time to post a detailed review just yet, but I just wanted to thank Ollie for what was a very enjoyable evening. I must say that I was very very taken with his portrayal of Billy, as a kid with an almost genteel sulleness. It's interesting to note that other forum members too noted his somewhat clipped delivery, like a cross between RP and Geordie. Maybe it's just me but I found that very charming indeed. There was a very matter-of-fact delivery of the lines that made it seem so very natural and completely un-stagey. You really felt as if you were just listening to an ordinary, everyday conversation. He may have had problems with positioning and placement particularly in Swan Lake and Electricity, but his grace of form, particularly his elegance and completeness of his upper body is unquestionable. Singing wise, he has a very colourful tone to his voice, multi-faceted almost able to modulate strength, tone and character to suit the mood, but for me it was in his acting and interpretation of the role where he really shone. 44 Oliver Taylor in BETM: Dossier Like Alan said, there was an almost genteel insouiance to his portrayal that was certainly very different from the rough and tumble of say Travis' characterization. The crumbling sandstones of Devon certainly capture an essence of his portrayal. There was a very fine beauty to his portrayal like china or a piece of beautiful cut glass quite unlike the rawness that others chose to play the role. It may take some getting used to for sure, but as for me, I was captivated straight away. His isn't a young, sweet Billy like Dean or Layton. There weren't very many smiles. But there was a real depth to his portrayal that I can't quite place my finger on just yet. I got a real sense of intelligence to his Billy, as if he knows more than he's letting on at the moment. His facial expressions, especially noticeable from Row E where I was sat, certainly conveyed that message as if there was something hidden beneath his dark eyes. Heh. I'm starting to get gushy so I'll stop there. I'll defintely make it a point to see him again, and I must say, just his portrayal alone has won me over already. In fact, I don't think I've ever been so easily won over apart from the first couple of times I saw the show way back in September 2005 (and let's just say that my numbers are not insignificant...). A very fresh, entirely natural performance. Well done Ollie.
Dancer So, another first night and Stephen Daldry appeared on stage to announce our 11th Billy, young Oliver Taylor. No Travis as Michael this evening, as a certain Jonty Bower had recovered from his recent injury a lot quicker than expected, but we are promised Travis as Michael later in the week due to Ryan being on a well deserved break. This was the first time I had seen Raefn Webber, the new Small Boy, and the Tall Boy was also new to me. I’m sorry but I don’t know his name, perhaps someone can let us know. In many ways this seemed like a brand new show with many new faces and several main cast members missing. There was no Trevor Fox, Alex Delamere, Kate Graham and Erica Ann Deakin. Billy, Tall Boy and Small Boy were new to me and I have only seen Jackie Clune once! Oliver did not make the same immediate impact on me as when I saw Layton and Corey on their opening nights, but he really impressed in his own individual way. The word that comes to mind when describing Ollie’s Billy for me is ‘sweet’, so different from some of the other Billys we have had in the past. First impressions were of a rather fragile boy, his dark hair accentuating his porcelain features. He was clearly rather nervous in front of a full theatre of 1,500 paying customers and who wouldn’t be on such an important occasion, I’d be absolutely terrified! Ollie was really concentrating on getting everything right and like all the other Billys before him will soon relax and put his own stamp on the role. He has a lovely pure voice, light and clear, and sings very well indeed. In fact when singing the penultimate line in Deep Into The Ground, “but I’ll love these dark, dark hills forever……” he raises his voice an octave higher than any of the other Billys I’ve heard, which sounds far more natural to me. I’m sure mwill and james234 will be able to confirm this. But don’t let his soft voice lull you into a false sent of security, as when he gets worked up, boy does he get angry! For someone whose most rude expression before the show was ‘criminy cream cracker’, you are suddenly jolted awake with some very strong expletives! Ollie as Billy really shouts when’s he’s annoyed. Just a pity he forgot the “oh sh*t” after calling his father a “bast**d”. That’s one of my favourite lines in the whole show, the way it’s said when Billy is running away from his dad! Shine was very well done by everybody and Jackie was giving it her all in the singing department. Ollie’s dancing is really beautiful to watch and deservedly got loud applause at the end of the song. The jokes in Expressing Yourself were the Squirrels Nuts by Jonty and Snowballs by Ollie. Angry Dance continued the ‘angry’ theme with Ollie producing a wonderful range of facial expressions during the dance, ending with a typical stroppy teenage glare at the audience when walking off stage. My favourite part of last night’s show must be Swan Lake. At the end of the Winter scene with Michael, Ollie left the tape player running for longer than normal giving us a few extra bars of the music, before commencing the dance with Isaac. And Ollie looked like he was really enjoying himself. He didn’t smile much during the show but during this piece the grin never left his face and it just hit you in the heart. You can see where Ollie’s real love lies, he really does want to become a ballet dancer. The Electricity dance was, as predicted, the ballet version which was very much enjoyed by the audience. The song was sung with immense confidence. An amusing thing in the RBS audition scene was after Ollie had wound up the tape with the pencil, he offered the tape to every person in turn, about six of them, before it was finally snatched out of his hand by the U- turn tape man. The look on Ollie’s face as everyone ignored him was very moving and you felt so sorry for him. Talking of moving scenes, back-tracking a little, the Letter produced no tears from Ollie, but you could feel his grief on seeing the image of his dead mother appearing before him. I was sitting in stalls B16 right in front of where Billy climbs down with his case at the end of the show. It really makes a thump on the floor. Goodness knows what else they put in it apart from the clothes. I’m sure a miner’s lamp doesn’t weigh that much! After climbing off stage Ollie gave that beautiful, haunting smile of his to the lady next to me in B15. It just melted your heart. A very happy finale with a smiley Ollie, who was clearly glad that his opening show had gone off so well. There were just a couple of minor, amusing hiccups. Ollie was rather startled by his dead Mum coming into the kitchen when he was drinking milk from the bottle resulting in a mouthful going all over his face and dribbling down his chin. Ollie couldn’t open the left hand curtain fully in the puppet scene, and after struggling with it for a moment or two just ignored it! It was then held open by one of the ensemble. And when Dad and Tony burst into the kitchen
45 Oliver Taylor in BETM: Dossier when the postman arrived, Chris Lennon hit the right hand table so hard that a loose fitting biscuit tin lid shot off and landed on the floor, kicked out of the way by Ann Emery when she went to get the knife to slit open the letter. Oliver got two well deserved standing ovations at the end of the finale which brought to an end an excellent show with just a few mixed up lines and first night nerves. It was good to see Jonty back after his absence and eally do like Jackie Clune’s Mrs Wilkinson. She plays the role so naturally and is utterly convincing. You can clearly see where Ollie’s strengths lie. There were very few acrobatics but he loves his dancing and has a beautiful singing voice. Yet another superb find by the production team. A final word of appreciation must go to the orchestra who, especially the drummer, gave a very polished performance last night under the leadership of Chris Hatt. After the show there was the usual first night party. Layton, Jonty and Shaun soon came out and were taken home in the Billy bus. At about 11:15pm Stephen Daldry came out and whilst he was chatting to the few hardy forum members who were waiting patiently, Ollie and his family slipped out and were halfway down the street before anyone realised. Looked like he was going to spend the night with his parents. So sadly we weren’t able to congratulate him and no photos this time. Of course, I’m sure the family weren’t expecting anyone to be hanging around at such a late hour. They’ll learn! The new programme should be ready in two to three weeks. More photos of the cast were taken last week, but just photocopied inserts were being given out and they didn’t even have a picture of Ollie. Not good.
james_234 There's already been some in-depth reviews, so just a few thoughts. Oliver was brilliant. The thing that I like most about his portrayal of Billy is that there is a real emphasis of Billy's journey. Right from his first entrance, Oliver is quite physical with both Dad and Tony - he pushes them away as they come on for the first time, and Oliver's defensiveness works really well in setting up the relationships with Dad and Tony and emphasising the part of the story about how the relationship thaws. I also noticed that Oliver did not go for the laugh with "oh, shit!" after calling Dad a bastard - he ran straight off stage, which gave quite a different impact to the scene. The gradual thaw during Electricity and the Goodbye Scene with Dad was all the more effective for this. Oliver's dancing is superb - I agree with Justin that Oliver's posture and grace are real strengths, as is the crispness of the upper body movements and the focus in his dancing. Swan Lake was beautiful, Electricity was mesmerising and The Angry Dance really carried strength and precision throughout. Vocally, Oliver has a very soft but versatile voice - he is a treble as opposed to the alto of most of the boys, and there is a purity on his top notes which was particularly noticeable in The Letter and Deep Into The Ground. The Letter was hugely effective in bringing forward Billy's emotions, again in contrast with the more defensive and closed Billy that comes before. I really enjoyed Oliver's different take on Billy, and aside from a slight overstatement in some lines caused by nerves (and I can't remember a single first night where this has not been the case!), I thought he did an excellent job. Actually I disagree with Alan's comment about 'roughening up', for me that would spoil what is fundamentally a very different portrayal of Billy to a more rough portrayal such as Travis or Layton. I also strongly disagree that Johnty was out of sorts or 'flat'. I thought he was excellent last night. This is only the second time I've seen him (the first being on his first night in December) and I really warmed to his more grumpy and slightly aggressive Michael - again, it helps Johnty to really bring out and contrast Michael's more vulnerable moments, particularly in the Winter Scene where he tells Billy he'll miss him. Oliver and Johnty took this scene really slowly last night (so much so that we got the second section of the taped ballet music, which I've never heard in the show before!), but I really liked the awkwardness of the pauses here. 'Expressing Yourself' was a little quiet, but again this is fairly usual for a first night - certainly I remember it being the case for both Colin and Dean. I particularly like how Johnty has settled down into the role of Michael, and there is far more 'light and shade' in his portrayal than December. I'm really looking forward to seeing him again. Jackie Clune is an excellent Mrs Wilkinson, her timing is immaculate and I'm ashamed to say I actually quite like the new costumes. Very different to Sally but nevertheless really effective - I particularly enjoyed how Mrs W is now Dad and Tony's equal and doesn't back down at all. Jackie's singing is powerful and I particularly enjoyed Shine and Solidarity tonight. The new ballet girls are a lively bunch with a beautifully simple Susan Parkes, and the new tall and small boy were both very nicely played. The small boy reminds me a little of Tom Higgins - his timing of the 'wanker' line was exquisite. Great to see Phil Snowden and Lee Proud as George and Mr B respectively, and of course the usual strong support from James, Chris and Ann as Billy's family. I really, really enjoyed this performance - congratulations to Stephen Daldry and the creative team on another successful casting mission...
Helen I was very impressed with Oliver's first night. I thought he had a lovely singing voice and a lovely gracefulness to his movement which I know in a few months will be even more impressive - once he knows the role inside out and doesn't have to concentrate on his lines and steps and can just 'let go'. Shine was very interesting because I didn't know who to look at first - with all those new faces to watch - Ollie, Jackie Clune and new ballet girls. It seems like
46 Oliver Taylor in BETM: Dossier we all noticed the scene where Billy says to his dad "I hate you, you're a b****'rd" and then he glared at dad and ran off in an angry way before his dad could say anything rather than the usual regret at having been so outspoken - this different portrayal made a real difference. It would appear that for Angry Dance Ollie needs to have his trousers made tighter as he had to pull them up a couple of times as they were just starting to slip down and he was obviously aware of them. In contrast, I don't know what happened to his trousers for Swan Lake but they were too short! However, one of the highlights for me was Swan Lake because Ollie just seemed unable to contain his enthusiasm, after he had come down from the wire and was waiting to be unclipped he was moving his feet up and down as if he just couldn't stand still and just wanted to carry on dancing. Electricity was beautifully performed and it was a very happy Oliver that led the cast through the finale - obviously relieved that the all important 'first show' was now under his belt. I had three members of my family with me who had never seen the show before - and I am delighted to report that now I have three more family members who will not look at me as if I'm totally mad when I say I'm off to Billy again - but instead they will look at me with complete understanding, because having seen it for themselves, they all loved it and they can all see why this show is so special and why it draws me back again and again. So we are on Billy number 11 and the Billy magic is as 'brilliant' as it has always been - thank you Ollie for giving us another wonderful new Billy
PerformingArtsFan I thoroughly enjoyed Oliver's first night and I thought his portrayal of Billy was really good. I liked the angrier exterior to Billy that Oliver presented and the shouting which contrasted with a fragile and delicate internal Billy as expressed in his dancing, especially the ballet. There was a lot of subtlety to his acting, but I dare say he finds it a little hard to identify strongly with Billy - a character so far removed from his own experience. I am certain that we have a great Billy in Oliver and I am looking forward to when I can see him next. Well done Oliver. During the show I found myself thinking how I would feel if I was performing my first night as a Billy. The enormous pressure on one so young, 13 years old, facing an audience for the first time, but knowing that your parents, family and friends are in that audience , but way above that, carrying the responsibility of the lead role in a show and the responsibility to the rest of he cast and the crew as well as the directors and production team. They are extraordinary young performers these Billies.
Den
47 Oliver Taylor in BETM: Dossier
June
June 20, Wednesday evening
Alan Roger I made a late decision to see Oliver's second performance as Monday's show left me with a phantasmagoria of unresolved feelings that I used an excuse to explore further. I was glad to get a seat mid stalls to get a better perspective on Oliver as an overall performer. Firstly this show had a very different feel to Monday from the off. It started with the extended applause reception for Danny as small boy when he climbed on stage. A reception that he milked longingly as only Danny can! Oliver, Johnty and the cast seemed much more relaxed than Monday and as such the show came across as energetic and pacey, helped in no small measure by our musical director who conducted throughout with pace and verve. Oliver began with a little hiccup, parting company from one of his boxing gloves in his peregrinations too and fro from his bedroom. His dilemma was resolved by Dead Mum who picked it up on her way to tidy up Billy's recalcitrant pyjama bottoms. Oliver quickly settled into a very dynamic performance marred only slightly by a mix up with Leigh in the toilet lines resulting in home sex and the wife from work going awol. Not that it mattered. I guess I shall have to live without a rough hewn Billy with Oliver on stage as he is clearly happy to project a gentle careworn Billy easily put upon. Even little Mia was able to push him around with ease only receiving a pained look in response. I can only describe Oliver's dancing last night as breathtaking. The speed of his pirouettes in Solidarity and Electricity were amazing and the poise spot on. He really is a beautiful dancer who makes the most of his already learnt balletic skills. Sitting mid theatre you can see how he uses hip and hand movements to maximise effect thereby adding to the rhythm and movement he conveys. It was however in one of those routines that is so easy to take for granted that I felt Oliver excelled last night. This was the Billy in the air sequence in Swan Lake. By subtle use of body in particular the arms and splay of fingers he chieved a sense of the ethereal I have not appreciated before. The look of sheer joy on his face gave one a feel of Billy being totally transported. Very moving indeed. Again Oliver sang with purity and clarity and achieved on one occasion a treble note that I am sure the choristers of Durham Cathedral would have been proud of. I do feel though he would gain by a soupçon of sadness in the Letter which came across as a trifle matter of fact. 'Oh shit' returned after calling Dad a bastard suggesting he had simply forgotten that line on Monday. Johnty laughed and chuckled through his role and to me seemed quite different from Monday and more in keeping with how he usually presents this role. Leigh again was at her pouty and petulant best. Brilliant acting once again from little Mia who had the audience really rooting for her when she reacted to being brushed aside by the others when trying to get to Billy at the end. All in all this was a more relaxed show by Oliver who will be I am sure an excellent if different Billy. He seems quite tall and I hope he does not outgrow the role too quickly as Liam did. We need many opportunities to marvel at the beauty and sheer artistry of his dance. Two footnotes to conclude: Firstly I like the way Oliver walks forward to take his solo bow. Personally I find the cartwheels the others do rather showy for my taste. Secondly Travis was back up Michael and Billy last night! Thank goodness there were no catastrophes or he would have ended up playing opposite himself.
June 22, Friday evening
PerformingArtsFan It was a really good show tonight with some wonderful highlights. I was sat with a large number of Americans all around me and they were quite blown away by it. They did of course applaud, but were so mesmerised that their reaction could have been considered as subdued when in fact it was because they were just so overwhelmed. They could not stop telling one another how amazing it all was. Amazing, yes, and it was due mainly to the amazing Oliver Taylor. He was very good on his first night when I saw him on Monday and now with Wednesday’s performance behind him as well he thrilled us all with an assured and superb portrayal of Billy - and this on his third performance. I do like his angry and almost aggressive Billy. Oliver’s interpretation is very consistent throughout and adds to the credibility of his character. He is a good actor and brings much emotion and passion to the role. He sings well and expressively, thereby continuing to reinforce the story and Billy’s plight. His 'Angry Dance was quite awesome and he kept the continuity of the dance and anger going thoroughout which is hard to do because the dance and the music and the action issomewhat fragmented. At the end we were exhausted and elated, but left in no doubt about how Billy felt. Oliver's ‘Electricity’ last night was, I felt, perfect. From the beginning to the end it flowed as an entirety: the words of the song flowed poignantly into the movements of dance that flowed through Oliver’s body. It epitomised, ‘losing who you are’ and we all felt a
48 Oliver Taylor in BETM: Dossier change and disappeared and were flying and were free. Oliver is an amazingly expressive dancer, ballet being his forte – a truly graceful and beautiful ‘Swan Lake’ - and you cannot help both being drawn in and released at the same time and feeling completely free. The words of the song were embodied in the movement of the dance far more effectively and powerfully than I have ever seen before. A natural comic – that just has to be the only way to describe Travis Yates who brought tears to our eyes with a brilliant performance as Michael. From the moment he appeared in the dress to the moment the lights went off he held the stage in ‘Expressing Yourself’. But, of course Michael does upstage Billy in this part of the show as indeed did Ryan with Liam on the on the opening night over 2 years ago. Michael is the stronger in the Billy – Michael relationship. Travis’s timing of the lines and his facial and body expressions were really funny. Both he and Oliver obviously enjoyed performing together. The Winter Scene was very sensitive and emotional and it is a tribute to both these young actors that they were able to be so effective in their first – and maybe only – performance together. And again it had a lot to do with timing and pauses. Oliver, I feel, is a very ‘deliberate’ actor who shows great awareness of the character he is playing. Not for him the unnaturally rushed lines. Travis too is an accomplished actor and they played very well off one another. You could feel the emotion. The most sensitive moment followed what I thought was a far better delivery of normal line, ‘Christ, my hands are freezing’. Oliver, typical of his portrayal of Billy said, ‘F uck ing hell, my hands are freezing’. Odd, but it made the moment sharper and more penetrating. Perhaps too it helped to balance Michael’s swearing in that scene: it was no longer one-sided. Lee Proud was great as Mr Braithwaite and of course being a really good dancer his ‘splits’ in ‘Born to Boogie’ was the full splits, no hands, and a perfect recovery, well until he felt the damage to the muscle ! I understand that Lee is now on his way to Australia for 5 months to work on the production. Lee Proud has been Assistant Resident Choreographer for the London production, as well as being a most versatile member of the Ensemble and playing Mr Braithwaite and George as well as other characters. I was pleased to see Kate Graham as Mrs Wilkinson again. Monday was the first time that I had seen Jackie Clunes play Mrs Wilkinson and it was particularly interesting to note the similarities in the portrayal of the role by Hadyn Gwynne, Jackie Clunes and Kate Graham and the contrast with the way Sally Dexter played it. Kate and Oliver established a very convincing relationship and performed really well together. The Ballet girls were so good and as usual I found myself working hard to make sure that I did not miss any of ‘the business’. Phil Snowden as George brought us the best of Trevor Fox and Paul Broughton together with his own particular interpretation – nobody does the ‘you daft buggers’ like Phil does. He is great. James Gaddas just seems to grow and grow in the role and really impresses me with the way he is so true to many typical fathers in the northeast in the way that they try not to show how they really feel as they struggle with their emotions. Chris Lennon plays Tony so powerfully and his role is crucial to the story and our understanding of the historical significance of the strike. Tony keeps our feet well and truly on the ground while Billy’s are flying. The polemic between Dad and Tony was once again superbly acted out by Chris and James. The tall and small boys played their parts well and we must not forget just how important and significant these small parts are to the whole. I do like it when I see the small boy singing with such gusto alongside the Ensemble and Swing, but best of all in, ‘Once We Were Kings’. My favourite cast member is the wonderful Ann Emery. Last night there was a well deserved ripple of applause before she finished ‘Grandma’s Song’. She’s great. There were other ripples of applause in the show and some spontaneous standing from where I was sitting and at the end everyone was on their feet. A great show and a great night.
June 25, Monday evening
james_234 This was a last minute purchase in the dress circle side alcove to catch the Oliver-Travis combination, and as always I was certainly not disappointed. I have to say that I am absolutely captivated by Oliver’s portrayal of Billy. I know others disagree, but I am so pleased that the company haven’t tried to make Oliver into a “rough and ready” Billy. It seems that Stephen Daldry and his team have taken the view that the character of Billy Elliot begins with an extension and amplification of the character of the boy that is playing him, and I think that this is a truly wonderful way to direct the role. In some ways, I can see echoes of the tension and angst of Liam’s Billy and the gentleness and sensitivity of Matthew’s Billy in Oliver’s performance, but this is certainly a very individual take on the part. The benefit of playing up the sadness and depression in Billy’s character is that it really emphasises the joy in the dancing, and Oliver’s ability to highlight this aspect of Billy’s story makes his portrayal incredibly satisfying. I really like the way that Oliver sets up the tension between Billy and his family right from the beginning by pushing Tony away as he enters in ‘The Stars Look Down’. There is a sense of depression in Billy’s first exchange with Michael – even the “f****d if I know” line is delivered quite downbeat. This gives Billy’s solo “Take me up and hold me gently” even more poignancy, especially accompanied by Oliver’s very fluid and graceful dance moves, which were mirrored beautifully by Harry as small boy tonight. We are starting to get some Oliver-isms in the breakfast scene already – Oliver’s look of absolute disgust as Grandma is spitting her pasty into the bin is priceless, and I love the way that Oliver (and Corey) sticks out his feet to show Mum that he has remembered his trainers…and then realises that he hasn’t! Oliver’s dance moves in the 49 Oliver Taylor in BETM: Dossier boxing scene are almost more x-rated than Leon’s (which is saying something) and I love the way that Travis’ Michael manages to knock Billy over as if he is swatting a fly. Phil Snowden is very good in this scene, especially how he turns away from Billy to shadow box and completely misses the fact that Billy is dancing instead of boxing for quite some time. Another really great team of ballet girls – my favourite moment today was at the beginning of Shine where Leyci as Debbie was tormenting Tracey Atkinson by holding a biscuit just out of her reach and making her jump for it! I also love the big ballet girl pile-up at the end of the first section of Shine – and Susan Parkes’ spastic starfish in Solidarity was truly spectacular tonight. Oliver and Ann are developing a nice relationship, and even from the dress circle it was obvious that Oliver was completely focussed as Billy was entranced by hearing about Grandma’s past in Grandma’s Song. I still really enjoy the choreography in this number - the shapes and dynamics of the male ensemble is brilliant to watch, especially from a completely different angle. Solidarity is definitely one of the highlights of Oliver’s performance – Billy’s confidence in dancing grows through the number, but Oliver’s beaming smile at the end is almost the first smile that we get from Billy in the show and it’s absolutely the right time for it to appear. I really enjoy how Jackie plays the toilet scene with Billy, particularly her reaction to the “you don’t fancy me” line, which is to look Billy up and down before replying “erm…no, funnily enough, I don’t!” Jackie’s Mrs W has an attitude of gentle amusement towards Billy which works really nicely here. ‘Expressing Yourself’ was truly remarkable today. Travis plays Michael with a warmth and generosity that complements Oliver’s more uncertain and slightly touchy Billy. Travis and Oliver’s performance tonight really underlined why ‘Expressing Yourself’ is such an important part of Billy’s story as well as Michael’s – there was a sense of Billy learning from Michael’s attitude towards life and it finally clicked for me that Billy only goes back to Mrs W because of what he learns from Michael. There seemed to be a closeness between Travis and Oliver throughout the number, and I particularly like how Oliver’s Billy is quite happy to be told that he looks gorgeous in lipstick and accepts the invitation to dance with Michael. It’s such a brilliant set up for the scenes between Billy and Michael in Act 2. Tonight’s performance was all the more remarkable because just after the start of the number one of the speakers started to get terrible feedback and Travis and Oliver completed most of the song without any microphone amplification through the front of house speakers. The band adapted to the problem very quickly and sensitively, but the fact that both Travis and Oliver were able to hold their own and project to the top of the theatre does them both real credit, as does the fact that they carried on without any reaction to the technical problems whatsoever. The Letter scene went well today, although one point of note is that from the left dress circle slip it is impossible to see anything except the back of Billy’s head throughout this scene, and I really felt completely cut off from the emotion of the scene as I couldn’t see any of Oliver’s facial expressions at all. I would guess that this would be true for anyone on the far left of the theatre and I did feel that it was a significant difficulty in the way that the scene is directed. This is no reflection on Oliver, who did a great job with the song vocally, but it goes to show how important the visual aspect of the musical numbers is to be fully involved in the emotion of a scene. Born to Boogie was carried off with the usual aplomb, and Leyci did a fantastic job with the toilet scene. Again, the innocence of Oliver’s Billy makes this scene very funny, and I loved the way that Oliver looked both ways before giving Debbie a really definite “no!” to her offer. Oliver has a fantastic sense of timing and I can imagine a pretty wicked sense of humour which it will be fun to watch develop. I also liked the sensitivity between Oliver and Jackie in the second half of this scene. The scene before the Angry Dance was fine, with Chris and Jackie’s very heated argument working particularly well. I’d still like to see a longer build up of frustration and anger for Billy in this scene to help the rather difficult join into the number itself. The Angry Dance certainly shows off Oliver’s very precise and rhythmic tap very effectively. I also like the fact that Oliver’s Billy has an underlying anger and ‘prickliness’ throughout the first act, which works well for the Angry Dance being the climax of the act. Oliver’s portrayal certainly seems to work well with the shape of the story, although I have to say I am a little concerned about the amount of shouting that Oliver has to do in Act 1, if only for the good of his vocal cords! Hopefully Oliver will continue to relax into the role and find alternative ways to deliver some of the lines – I can imagine he would do some great seething anger and snarled sardonic put downs… It is entirely fitting that Oliver’s Billy begins Act 2 in a similar way to Act 1, with a very depressed and sullen Billy who is not at all the “smiling little pixie helper” described by George. This is contrasted with Travis as Michael and his little harem of Debbie and Julie Hope treating us to some quite spectacular ‘sit down dancing’ in ‘Merry Christmas Maggie Thatcher’. David Bardsley’s rendition of ‘Deep Into The Ground’ is always a treat, and Oliver’s voice really picks up the tune beautifully at the end. I apologise to the forum member who vainly tried to convince me that Oliver sings higher than the others here – he does in fact sing a slight variation on the tune to the others which is a third higher than the other Billys. Oliver and Travis played a really sensitive Winter Scene – I really enjoy the fact that both boys are not afraid to put in awkward pauses. Travis has done a superb job of communicating Michael’s feelings for Billy here, and he 50 Oliver Taylor in BETM: Dossier was helped by Oliver’s very hesitant and sensitive response to the “I’d miss you” line. Travis is also very funny in the second part of this scene – his ‘nutcracker’ splits got a huge round of applause tonight! I may not be a full member of the TYMAS (sadly I don’t own a yoghurt maker) but I have to say that Travis really is a brilliant performer – professional, thoughtful and completely sensitive to other actors. I am so glad to have had the opportunity to see Travis as Michael twice (although I'm so sad to have missed him with Leon) because he is totally ace, and I can’t wait to see him again as Billy now. Again, the Daldry magic seems to bring out Travis’ natural warmth, generosity and mischief in both roles, and the fact that Travis can succeed so thoroughly as both Billy and Michael is testament to his incredible acting ability. Travis is so able to bring out all the emotion and pathos – he is definitely talented beyond his years. Oliver’s dancing of Swan Lake was absolutely outstanding – his spins and leaps are particularly impressive and he was matched all the way as always by the wonderful Isaac as Older Billy. The Winter Scene between David and Jackie was good tonight – David’s slightly smaller and less complicated portrayal of Dad is always great to watch, again because David gives Dad such a clear story. I also really like David’s interpretation of the auditions scene, which again made use of Oliver’s impeccable timing as Oliver whispered a very long and convoluted instruction to Dad about whether he had any further questions before David answered with a resounding ‘no!’ I have no problems with David’s show of bravado after ‘Electricity’, which I think fits in with his slightly more confused and earnest portrayal of Dad. ‘Electricity’ was truly stunning again, partly because Oliver’s ballet is so unbelievably good (again the speed and fluency of the spins at the start of the dance break was absolutely phenomenal) but also because Oliver’s reaction to the ovation at the end seemed to set the whole theatre alight. Oliver follows a similar Electricity to Liam and Leon but without the gymnastics, and it is frightening to think what he will be doing by the end of his run when the standard of his dancing is already so high. Oliver also delivers the vocals of Electricity very thoughtfully. I enjoyed Oliver’s goodbye scene with Mrs W, again his very sensitive Billy really lends itself to this type of scene. The farewell scene with David was also great fun, but for me it was the Letter reprise and the goodbye with Michael that were particularly touching tonight. The Letter reprise was delivered more softly than I’ve ever heard it, and it was really very beautiful. Oliver has a great deal of vocal control and the fact that all the notes are easily within his range gives him some great possibilities which he fully exploited tonight. Oliver and Sara’s voices blend particularly well in this number. Billy’s goodbye to Michael was also really poignant. Oliver’s Billy doesn’t turn back after the ‘see ya Michael’ line – it’s almost as if it’s too painful for him, and the kiss seems quite heartfelt and tender, particularly in contrast to a portrayal such as Corey. Personally I found the Oliver and Travis pairing to be really superb and I’m only sorry that it’s probably the last time it will happen! The finale was great and we won’t mention the naughty slippery floor that caused Oliver to slip over, which means that we can’t say how very professional it was to manage to get back into the dance routine within four beats… Apologies for an Olly-centric review, but I think it is well deserved. I certainly hope that Oliver will keep going with the very individual portrayal that he has started because it has a very exciting amount of potential. The last few lines of the finale are definitely very pertinent to this particular Billy – definitely a Billy with “individuality”…
Remi
51 Oliver Taylor in BETM: Dossier July
July 11, Wednesday evening
Dancer Booked stalls B17&18 just the day before the show as the future shows thread said that Ollie would be Billy on Wednesday and I really wanted to see how he had progressed since I last saw him on his opening night on 18th June. It seems such a long time ago now. Several of the main cast were still missing and we had for the first time Daniel Page as Mr Braithwaite. This was interesting! In the programme the first understudy named for Mr Braithwaite is Phil Snowden, but he couldn’t take the part as he was playing George! The second understudy is Lee Proud but he wasn’t around as I believe he has gone to Australia for a few months to help out with the production there. Lee is also the second understudy for George, but being in Australia, of course that ruled him out. So with three out of the four cast members unavailable, a new Mr Braithwaite had to be found. For those who can’t picture Daniel, he is the guy who strides to the front of the stage zipping up his sleeveless jacket in The Stars Look Down at the beginning of the show, although by playing Mr Braithwaite, he can't do that now! I think the Tall Boy was Luke Nicholson. Luke or not, he played all his roles really well and was concentrating very hard in all his scenes. He was a different Tall Boy to the one we had on Saturday evening when Leon did his 200th and final show. I didn’t recognise any other forum members at last night’s show, but there could have been plenty but none that I could put names to faces. A bloke from Holland (not pjboy!) was sitting in B19. He had seen the show 33 times in nine months and had seen Travis on Monday, Layton on Tuesday, Ollie of course on Wednesday, and I think he was also going to both Thursday’s shows. And so, on to the show itself which turned out to be most interesting. The first people I must congratulate are the orchestra who really went for it hammer and tongs, pushed to the limit by a very energetic Matt Malone. The drummer was my favourite, really smashing the drums and symbols around, as if he was playing to 15,000 not 1,500 people. I’ve heard him a few times before, from different parts of the theatre, and he produces such energy that you can imagine you are at a rock concert. Ollie walked out on stage looking lightly tanned from his recent break which contrasted with his rather fragile features. But Billy was to be no wimp tonight. Ollie played him as quite a moody and sullen boy, bordering on the stroppy at times, rarely smiling. I certainly wouldn’t want to be on the receiving end of his tongue which was rather sharp at times. He has really settled into the part of Billy and is starting to add his own little touches, notably a wide range of facial expressions. Ollie has a very clear voice, a touch higher than the other Billys, which gives him a greater vocal range in his singing. I noticed this in particular when he took over from Dad, in Deep Into the Ground when he sings a “third” higher (thanks James234) than the other Billys. Jokes in Expressing Yourself were skeleton from Ryan and snowballs from Ollie. Ollie’s eyes filled with tears during a very moving Letter, but were not shed, and it is these poignant moments that Ollie’s Billy loses his stroppiness to become lonely and vulnerable especially when seeing the ghost of his dead mother, eventually learning in Letter Reprise that he will never see her again. Ollie’s favourite dance style is ballet but it was his Angry Dance that for me was the highlight of the show. There is massive strength in that delicate body of his and his tapping and general body movements were quite overwhelming. The audience got a double dose of anger at the end with a very surly glare followed by a “come on” gesture as Ollie walked off stage. I though Daniel played Mr Braithwaite really well. He had no trouble lifting Ollie and swinging him around in Born to Boogie, although he didn’t quite manage to complete the splits! The expression on his face said it all! He lifted up the Small Boy one handed in the soup kitchen scene, and looked very scared of Dad when Dad burst into the ballet class. Ollie remembered his “oh shit” line which was brilliantly timed. The knee bandage Leigh was wearing on Saturday is now off but Chris was sporting a bandage on his right knee. He must have been in some discomfort as he didn’t jump off the picket line barrier but just walked through the gate. David was as good as I’ve always seen him and he does have a very good singing voice. I always like his reaction to the Swan Lake doorbell of the Wilkinsons’ house. There was a major problem with the tape in the RBS audition scene. Ollie was frantically winding away but the tape just wasn’t winding in. Perhaps Alan Forrester’s pencil had shrunk in size! In the end our regular u-turn tape man, David Massey, had to walk over to Ollie, took the tape and pencil from him and pretended to wind it up whilst walking back off stage. A bewildered Ollie just managed to get back into position before the music started. It was so smoothly done that anybody seeing the show for the first time wouldn’t have known anything was wrong. Another gremlin hit Ollie in the Post scene. He was determined to get to his Jaffa Cakes after walking into the kitchen after saying goodbye to Michael but the lid of the tin just wouldn’t budge. In the end he had to give up but had another go when Tony was reading his acceptance letter and finally succeeded. I half expected the tin to go flying but it was kept well under control by Ollie! A happy, smiling Oliver in the finale ended a wonderful show, with a full standing ovation, but is was the orchestra that really took pride of place for me on the night.
July 13, Friday evening
52 Oliver Taylor in BETM: Dossier
dutchboy Again i had a few beers with my new Dutch Friends in the Rose and Crown , so i may not remember everything clearly... I met Alan Rogers and Judith as i made my way to B17 . It was nice to see some familiar face sitting in B-Row . Tonight was going to be my first time seeing Oliver , and seeing a new Billy is always a major treat and Oliver made damn sure not to dissapoint Oliver hugely impressed me with his very good acting skills and a very good singing voice. Every Billy has his own style and Oliver is again quite different from the other Billy's . His Swanlake and Electricitywere very impressive . I hope he will get a little more angry in his angrydance as he tries to do it too beautifully with nice balletmoves. Let the anger flow through every muscle of your body Oliver . Oliver is a very good and solid performer and i'm very glad i finally got to see him perform. After the show there was almost nobody at the stagedoor so we got a good opertunity to get a picture taken with him , when he came out the door. He was very friendly and helpfull and gave us a great smile... The BETM Team has done it again and a new West End Star is born , keep up the good work and surprise us over and over again with only the best of the best... Nice to see Chris Lennon back as Tony , his Tony is such a powerhouse What happend during the angry dance ?? Michael was running across the stage ?? This is the first time i saw that, and Alan Rogers also came to me in the breaktime after act 1 discussing it because he had seen it too... All and all a good and solid show ... and the fun never stops...
Alan Roger Firstly we had a strange audience last night with screaming oohing and ahhing schoolgirls somewhere in the house which gave an odd feal to everything. You knew something like this would happen when Harry appeared to a cacophony of 'oohs'. The worst moment was when Billy hugs Mrs Wilkinson when the noise of oohs and applause reached a creschendo. Poor Oliver could not keep a straight face and was clearly put off. You can imagine the reaction therefore to the 'kiss'. People around me also roared with laughter their way through the show to the point that I thought we were watching 'Billy Elliot the comedy' I have commented elsewhere on the introduction of Michael into the Angry Dance. Suffice to say that Johnty gave one of his best performances that I have seen. Oliver is an interesting Billy that is for sure and very solid in his overall performance. However I have two reservations which may seem trivial. Firstly in Expressing Yourself there is a sudden transition from the rather grouchy Billy we see at the beginning to a boy who clearly loves the idea of dressing up and who can 'camp' it with the best. How does this sit with the Billy in the film who would rather not engage in this form of activity? Whereas some of the Billys say 'no thanks' to the offer of the top before Michael says 'arms', with Oliver one gets a feel that Oliver's Billy can't wait for the opportunity to dress up and thoroughly enjoys the experience. Secondly I would like Oliver to put a little bit of 'soul' into his Letter. He sings and acts it well without though the sense of bereavement we get with Travis and Corey. Overall though this was a very strong performance from this statuesque Billy. I would also like to mention Daniel Page as Mr Braithwaite. As can be guessed we were again short on miners (only 2 for the ballet dance in the finale). This was my first time seeing Daniel in this role and I thought he made a very good fist of it. It does allow his acting abilities to come through and his own spin on the role I thought was very effective. Dom T was older Billy last night and did well. I feel though that he needs a steady run in this role and if there is confidence in him then this should translate also to the curtain scene with Dad rather than be passed to Isaac. David B is a very engaging Dad and one was reminded again last night what a fine voice he has in Dad's song in the Winter scene. This is a very pleasing and melodic part of the show as Oliver also sings his part in it almost to choirboy standards. Those then are my added thoughts on last night's show for what they are worth. It is not often I sit on the left hand side of the auditorium. It certainly does add a differing perspective as well.
BAGPUSS I wasn't planning to see the show tonight, but I was in London and I managed to get a ticket. I am really glad I did because tonights show, for me, was up there as being one of the best. The actors were great, the audience was great (in that they contributed to the atmosphere, notwithstanding the squeals, etc) and I left the theatre with a feeling of wellbeing. This was the first time I have seen Olly since his debut and what a difference. I thought his first performance was good for a 'rookie' but the improvement in such a short space of time in all departments is truly remarkable and Olly was certainly up to the task this evening. As mentioned by the two earlier reviewers, there were some bits that need tidying up, but I judge the shows I see by the emotions that I am left with at the end and I was certainly on a 'high' as I travelled back home.
53 Oliver Taylor in BETM: Dossier Jonty in a brief cameo appearance in Angry Dance has already been mentioned - I think it might only be a distraction by us 'regulars' as the audience will not realise it is new and put no great store in it. David & Chris put in tremendous performances, as did Jackie, Jonty, Amy & Daniel P (not forgetting the hard working ballet team) First time of seeing Dominic as older dad, he was fine, and as Alan says, he now needs to come to the front of the stage. BTW, I saw Alex (Mr B) outside the theatre, and he still has his leg strapped and using a crutch, so I guess, unfortunately, he wont be back too soon. Other bits: I thought the breakfast table had stuck as it seemed to take ages to come up. Olly is whispering to dad before Electricity (Do you have any question bit) and after a long exchange, dad says no!! This gets a good laugh and I hope it is kept in. I had an American sitting next to me and he laughed non stop throughout the show and he physically rocked the whole row - I was beginning to think he was from the 51st State (yeah I know - Americans would probably say out in left field) Anyway, he obviously had his money worth. The tall boy gives an enjoyable portrayal of his role, but I don't know his name as I am too tight to buy a new programme. As one of the Judges in Finding Joseph used to say, the show was GREAT, GREAT, GREAT. Finally, thanks to the chaperone for allowing time for photos.
July 17, Tuesday evening
tomfoolery my first time seeing him. ive seen 8 other lads in the role and he certanly holds his own. i cant think how he will be in 6 months he played it the most intense and grumpy ive seen it played which was wonderful as he thawed out through the evening. his dance is just beautiful to behold and hes at the top of the pile in terms of singing, as he has power but also gets to those very very highest notes with an angelic tone. the b2b piano flip looked deadly tonight as he seemed to be very close to the floor before the legs flung over, but he landed it perfectly so...... shows what i know. i LOVE the additions to angry dance. just a few small things but it keeps the pace up and gives context to the scene. shawn gave a real cracker. throughout. the lights in the stage stayed up til born to boggie. giving the tony / dad fight a glitzy feal . i dont think ive seen an audience go as wild as they did for the swan lake tonight. which deserved it. i wish however, that as olli ha dark hair and issac doesnt dance in a wig, that he would use it for the curtan/smoke scene, otherwise it looks weird. i never noticed before that the piano in b2b isnt solid, but material painted to look like wood. (to allow sound to come through from the piano speakers i suspect) it felt a little light on cast with so many people on covers / ill / away. but a superb show eitherway, and nice to see others in some minor/miner roles . i love how leyci always says her line differently. shes a scene stealer. Jackie was good, he voice stronger than ive heard before, but perhapse tonight i slightly felt to much was played for gags which watered down her character somewhat. david B is a cracking dad, taking a killer 2nd half. i think he plays a couple of the early scenes a little too heavy on the farce, but he is so good at the role he can get away with it. lee and phil playing there roles with their own touch which 100% holds up to the excelent Alex D and trevor F felt like i was seeing the show for the first time again. (im embarrised to say it was my 19th how did that happen?)
July 20, Friday evening
July 23, Monday evening
July 26, Thursday evening
Tony Just a few thoughts: yes, it seems like the season for understudies - but I was struck by the consistently high standard. Tim is an outstanding Tony and always gives 100% - and Phil and Lee bring their own strengths to the roles. This really must be one of the best ensembles in town. Olly - Shaun - Leyci is an inspired team - a rich mix of personalities which really brings out the humour and humanity of the show. Leyci's eyes sparkled in all the right places and Shaun was as outrageous as ever. Olly gave an excellent performance - the boxing scene gyrations were hilarious aqnd completely unique! I'm sure he will have been annoyed at the unfortunate ending to Electricity - as the rest of the piece was nigh-on perfect. But I have to mention James Gaddas once again. I believe his portrayal is now becoming the "rock" of the musical - in all his scenes he brings a quiet authority and strength which gives the show much of its integrity. Many thanks to James! I always miss Alex and Alan when they aren't around - but I guess they deserve a holiday! Nice to see the new programme at last - it must be the only one with FIVE Billys officially listed. 54 Oliver Taylor in BETM: Dossier A good, responsive audience enjoying the best show in London. (Oh OK. I'm biased!)
July 30, Monday evening
sfo Hi Everyone, just got back from London, I did promise you a review of 10 pages, But i could only sum the show into one word, OUTSTANDING, Hope you enjoy the review, as to quote the Sunday express, Pure Magic After my second visit to Billy Elliot the musical, I find my self again astounded by the talent and commitment of the cast of Billy Elliot the musical. After 2 long days in London, Monday finally arrived. I awoke excited about my second trip to see the musical. I didn't care about sightseeing i just wanted to reach 7:30 .When it finally arrived and i was walking into the Victoria palace for a second time. I couldn’t believe how lucky I was to be able to see the show.I had great seats in the dress circle. I could view the entire stage without any problems. The cast for the night was Oliver as Billy, Shaun as Michael, and Leyci as Debbie. To my surprise I discovered that the role of Dad would be David Bardsley and the Miss Wilkinson would be played by Kate Graham. As usual the wonderfully Ann Emery played grandma. I also noticed that Leigh Laurie was also on stage. performing as a Ballet girl. The show began with the wonderful Stars Look Down, performed perfectly by Oliver There was a wonderful atmosphere within the theater during the opening, the singing and dancing was performed beautifully, It again reminded me of the first time I saw the show. Its was a great start to the night. Kate Graham brought the role of Miss Wilkinson alive. She did a terrific job and Shine was an outstanding performance by Kate Graham, Oliver and the rest of the cast. It was the first time id seen the performance of the David Bardsley as Dad, again a great performance Through the show Oliver continued to perform the show without any mistakes are errors. The Letter scene just about brought tears to my eyes. A wonderful performance by Olivers, Kate and Sara, It Reminded me of Liams version from the original cast album. Express was again just nothing but fantastic humor. Oliver and Shaun worked so well together during the performance. The entire audience were just in hysterics. For me its still one of the most well remembered scenes in the show. From Swan Lake to Merry Christmas Maggie Thatcher, each scene was completed with such emotion such dedication, again more amazing dancing, and singing Electricity was just beautiful and heartbreaking, It was the first time I had scene the Ballet version of Electricity, Again Oliver performed the scene with enthusiasm and perfect ballet at the end, the applause by the entire audience was enough to be heard from Mars As the show came to an end, the finale was nothing but remarkable. Such a wonderfully piece of music and such a fantastic cast its was completed without any mistakes, To sum up the nights show I would say that, Oliver performance as Billy was outstanding he performed the role with so much respect and dedication to the original film and to the musical , Kate Grahams dazzled the audience with such a fantastic performance, Ann Emery impressed the audience in the wonderful role of grand ma, Well done Ann. Shaun and Leyci roles again acted without mistakes and there performances were nothing but brilliant , The role of Tony was played by someone I still cant find in the programme, But his role was just excellent, He reminded me of Jamie Draven. David Bardsley was just terrific if the role as Dad. So after another wonderful show, Id like to thank the entire cast and crew for a great performance and a big well done to Oliver. I cant wait to see my next show. But when will that be?
55 Oliver Taylor in BETM: Dossier August
August 3, Friday evening
Born to Boogie Oliver's performance tonight was simply phenomenal. The whole production was as strong as I've ever seen it. This was a show which re-affirmed why we so willingly spend our time and money supporting the whole cast, production team and not least the ideals and morals which the story portrays.
Alan Roger The good thing about an Oliver show is that it challenges. You are never left drifting in the comfort zone. I refered in his thread to him addressing Dad as a 'bad Dad' instead of 'Bastard 'as an example. In my first review on Oliver I was perhaps a bit harsh on him as I recollect in referring to his Billy as too soft and 'nicey'. I wonder if however the pendulum has swung rather more the other way as last night his Billy remained very grouchy and truculent until the end. All the cast's mikes' seemed 'loud' and so at times with Oliver, James, Chris and Jacky going full tilt I felt that I was really sitting in the middle of a never ending rip roaring domestic!! Having said that, I agree that last night's show was very good indeed. Oliver danced and acted superbly. He also has a lovely singing voice and I wonder if he has a background in choir work as it really comes through especially in the reply to Dad's song. I was sorry that Oliver curtailed very quickly the applause to Electricity' as it (and him) deserved far longer acclaim. It was very well sung and danced. The pairing of Oliver and Johnty worked very well last night and throughout Johnty gave the impression of enjoying himself hugely. Ami was also on fine form and her moments with Oliver were very well acted by both of them. Ami's diction was crystal clear especially the delivery of her lines at the toilet scene. One of the unexpected pleasures last night was Tim Funnell as posh Dad. This was the first time I had seen him perform this role. It was very convincing and reminded me of many Southern male commuters that I had observed when I lived in Surrey. A very aspiring gent clearly living on the coat tails of his hopes for Thomas (ably acted by Luke Nicholson I think last night). It was obviously going to be a good night for the Taylors as Harry clearly realised he was on to a good thing when he was applauded when climbing on the stage at the beginning. Harry did not need to have Shaun opposite him to have fun as he was a mine of acting all evening. Watch this boy go in the future is my prediction. Last night was a very challlenging and interesting show overall and I felt that I had really got very good value for my reduced priced seat.
Tony My personal theory is that Olly's performance is influenced by his learning of the Newcastle accent. It gives his vocals an "edge" and his acting an extra strength.
Tessmagnolia I was disappointed it wasn’t going to be Travis, but prepared for something magical by another Billy and I wasn’t disappointed. I got a new Billy and Michael; and a much improved rendition of Debbie from Amy, I’m really glad I got to see her for a second time and see her perform to her true potential. Jonty I wasn’t sure about at first, having seen Ryan and Travis who have a similar take on the Michael, Jonty’s differences hit me immediately, but by the end of the evening he turned into a little star. He won the tap shoe race and lorded it over Olly! This was also my first time seeing the Michael edition to the angry dance and I personally think it works. He’s part of the community and therefore he is going to be in the thick of all the drama. Now Olly I’m still not 100% sure about. He plays the character so angry and moody, which contrasts against his angelic features, and makes me not warm to him as much as the others. I love his singing voice and you can’t tell he’s a southerner, which is true testament to his excellent acting. My favourite part of electricity is the gymnastics, which Olly doesn’t do, but his portrayal is still stunning. It was quite funny to see the jaffa cake fly out of shorts during the pirouettes in Solidarity which grossed out one of the ballet girls. Oh, and Harry is adorable – he’s such a pro for such a young age, but you can see that he could be easily led astray. During Maggie Thatcher the poor ballet girl he was stood next to nearly had her eye taken out many times. He also got extremely carried away shooting at everyone in the audience! I think he gets the shooting from Jonty who uses that as his signature move at the end of Express.
Dancer Thanks for your brilliant reviews, tessmagnolia, I really enjoyed reading them right to the last word! And weren't you lucky seeing three different Billys in your three consecutive shows. I was thinking about what you were saying about Oliver. When I last saw him for the second time, he played Billy as rather moody and sullen. I wonder if this portrayal is intentional to contrast with his fragile and angelic appearance? It certainly comes as a shock to the
56 Oliver Taylor in BETM: Dossier system, as Mrs Wilkinson would say, but I do love all the different ways Billy is played by each of the boys. You never see the same show twice.
August 9, Thirsday matinee
JustEmma My last show, I was looking forward to it, and at the same time I didnt want it to end. Because I knew it was going to be the last time in a long time. Before the show I was standing outside the theatre and saw the Billy bus, first time that came to my mind was how tall Olly was, he's almost just as tall as Travis! Saw a really cool BETM van which I thought was really cool Raefn came walking to the stage, climbed on and I, once again fell in love with the show. Olly was really good, had to get used to his more angry, grumpy Billy for a minute but he brings it so natural and with so many amazing facial expressions that I loved him instantly. When he smiles you just melt and his dancing is amazing. The footwork (which I didn't see properly) was amazing and his technique was really good. I'm a fan of voices like Travis, George etc but Olly's was really good, sweet and clear. I liked the really high Deep into the ground, it must sound great with Travis, Corey and Olly, a low one, normal one and high one Shaun was once again hilarious, his expressing yourself just gets me in stitches, especially the end when he shows the world how fond he is of himself I was kind of hoping to see Leigh, as I would have seen all Debbie's 2 times then, but Leyci was really good so it didnt really matter. Leyci is just so cute and her facial expressions are hilarious. I was very happy to see Tim as Tony as I think he's amazing. His acting is just so natural and his voice is really good. Phil is a hilarious Mr. B. Gotta love the yellow socks and gotta love the high screamed notes when he attempts to do the splits. Jackie, James, and Ann were amazing as ever, never seen them having an off day! David is one of my favourite ensemble members so I was happy to see him as posh dad, finally some text for him! He was really good alltho some other posh dad's looked more like posh dad's then he does. I just love little Raefn, his cheeky face and cute smile, and he knows all the words of all the songs and is happily singing along. Was dancing away in Maggie Thatcher and looked so cute when he was looking for his mum in the audience during Once we were kings. Tall Boy and the Ballet girls were also really good today, I loved the girl who played uhm...what's her name, gosh i forgot, well she had really light blond plaits, maybe someone else know's who I mean, she was quite small but not the smallest. Olly brought tears to my eyes during the letter, but that might have been because that was the moment I realised it was my last time. He definatly made me enjoy my last show and making me want to come back really soon to see him again. Saw all the kids come out after the show, Olly's grandparents were there which was soo sweet. He looked so happy and his family so proud! Little Raefn happily posed for our camera's, and I gotta say, he looks so much like his brother, brother is just a bit taller. Jackie was very nice, and gave us some great news about Dean! As soon as I'm back home in Holland I'm gonna look for a job, just so I can come back asap!!
Patc Well, the day finally came for some of the Thursday Afternooners - the first day of seeing Olly and what a day. This was one of the most moving shows I've experienced. I was expecting great dancing and singing from Olly anyway but wasn't quite aware that he has wonderful acting skills too. There was not a single moment when he wasn't doing something positive. His Angry Dance was as good as it gets. Swan Lake was achingly beautifully performed (with Tom). His ELECTRICITY was a spellbinding balletic one. I was very lucky to have been in O14 stalls today from where all his footwork could be enjoyed to the full. JustEmma has already mentioned The Letter which broke the hearts of everyone including yours truly. I look forward very much to seeing Olly perform again. The rest of the cast were all on song. There is an old saying that goes "Jack of All Trades - Master of None" but in the case of Lee he is "Master of All Trades". Today he did the Scab and Audio Tape Man, at least. I doubt there is any adult role he can't do in this show. I don't recall any incidents of note other than the parent who decided to wait until The Letter to get up and noisily bring two children out to the toilet and the "oul wan" who started taping the Finale and got told off by the staff member who caught her. Another great day at the VPT.
Malcolm Just to add to what Pat has said about the matinee. It was the first time I had seen Oliver and I thought he turned in a spectacular performance, and I was most impressed. He certainly has a unique style and the audience just loved
57 Oliver Taylor in BETM: Dossier him! We must have had the biggest mid-week collection of Forum members I think I can ever remember… My grandson liked meeting everyone, and thank you everyone for including him in the conversations. - needless to say he has seen the show several times before, as has his older sister. This social aspect of seeing the show is also one of the big highlights for me - quite different than if you sit on your own and talk to no-one. I had never seen Shaun actually do pirouettes at the end of Express - almost if someone in the wings had said 'Come on then Rudolf Nureyev'.
et-go-home I can add very little to what has already been said about Thursday's matinee by JustEmma, patc and Malcolm. Terrific performance from Oliver yesterday. Not sure if it's a result of his ballet training but his body language expresses Billy's mood perfectly. My only minor criticism would be that his delivery of some lines can be a little hurried. He has such a sweet singing voice and I hardly need mention his dancing. His timing in Angry Dance was perfect and Electricity totally breathtaking! It is ages since I had seen either Shaun or Leyci so was particularly pleased to find their names on the Cast Board. As Malcolm has already mentioned, Shaun incorporated pirouettes into an ending of 'Expressing Yourself' which was new to me. Will he be auditioning for Billy soon, I wonder. An excellent performance too from Leyci whose Debbie was at her petulant best. And I discovered when she signed my programme after the show that she is Left Handed! I wonder if she will be celebrating "Left Handers Day" on Monday.
Tony My theory on Oliver's delivery of his lines - which can sometimes sound more angry - or petulant - is that he is concentrating on the (unfamiliar) accent. That's just a guess. I agree his body language is most eloquent and brings a unique style to the role.
August 11, Saturday matinee
Malcolm Not having seen Oliver before Thursday, I was now able to see him a second time at the Saturday matinee. I really like his interpretation of Billy. It is truly unique. David Bardsley was Dad, Ryan was Michael and Amy was Debbie. Perhaps because of a different permutation of actors I felt he was in a different mood to Thursday, but non the less excellent. Yesterday we had quite a fierce Billy. I don't think I have ever known the lavatory door bang with such vigour (reminded me of my daughter at that age!!!) - I thought the whole structure might disintegrate. And he veritably screamed 'You're a Bastard' to Dad before running off saying 'Oh Shit!' At the conclusion of Angry Dance he really challenged the audience to 'COME ON THEN!!!' That said, his letter scene was really moving and I felt a real lump in my throat. It was brilliantly executed. His speciality dances in Solidarity, Born to Boogie, Swan Lake were really good and Electricity was little short of fabulous. I must admit however that I felt the chemistry with Shaun worked better on Thursday than it did yesterday with Ryan. At the finale I noticed he kept a beady eye open for the dog that was sprawled across the aisle and I was concerned that boy and dog might go flying in different directions if he wasn't careful . It is true he clips his words a bit but I am sure this will get better in the fullness of time. He is a very believable Billy and I think we are most fortunate to have this young man with us. Oliver comes across as someone not to mess with and in that reminds me of Jamie Bell from the film. I am surprised there aren't other reviews in yet as several Forum members were there. Good to see PerformingArtsFan, New York Fan, Yorksdell, Individuality, and Alan Roger in attendance, and some other non- forum members. The overwhelming majority of those I spoke to thought it an excellent performance and were going away on a high.
Tomfoolery a great billy form ollie this afternoon. what i love about his ballet is how it has such accelaration. it seems so assured and expressionate, contrasting but standing up to liams liquid like fluidity. all round great show with a swan lake to die for. the understudy mr B did a fine job, although he'll be pleased to hear he looked a little to at ease with the dance, as hes a younger and more athletic build that certan others in that role. there was a real lack of power in group numbers such as stars and kings due to the number of people absent which didnt go unnoticed.. our current crop of billys is bloody good. erica as dead mum was intent of making thoe around me cry, as she performs it in a very emotional way where the tune takes second fiddle to the acting, sara tends to balance the two more (i find). she succeded. the finalie looked a tad bare . 58 Oliver Taylor in BETM: Dossier jackie was funny , james not as intense as ive seen him, but thats no criticism. by far the loudist head bang today. shaun did some shelly turns after express. leyci was masterful ,handleing the "Slag of your mam./my mams dead" with perfect timing, holding the gag for what its worth. ollie said his line in a sharp, quick manner that hinted at deep pain and longing, without hamming it up, to his great credit. grandmas song ended with some VERY energetic dancing around, when ollie through the bricks at the shields, one missed, but the other made a huge wack. watching ollie put his shoes on to get onto the piano in b2b for the flip, you wish they could have an extra bar of music to tae the slack.. its surely not nice to do a flip having only just that second got your trainers on. it was a good but not stand out show, ollie was the star of the show no question and his singing is wonderful and better than i thought it was 3 weeks ago.
Alan Roger I also thought that Olly's Sturday matinee was one of his best. Sitting in A10 I found I was right in front of the Olly fan club made up of friends and family from Devon so there was huuge support for him. You certainly have to get used to Oliver's Billy as it is light years away in interpretation from the sunnier Corey for example. His clipped line delivery works well for most of the time although there were some lines that I think the audience might have struggled to hear. Olly was less shouty than he has been in the past although his Billy remains irritable and grouchy throughout. However when he smiles he melts the stoutest of hearts and you do see the other side of Billy's personality very clearly. As has been stated all the ballet routines were very well executed. If Olly keeps this standard up (given his commitment to the genre) I think he will become an outstanding ballet dancer for the future. You heard it hear first folks.
August 18, Saturday matinee
Dutchboy What i said about the chemistry between Corey & Shaun is certailnly also true for Oliver and Shaun. This is the second time i saw Oliver since some time ago when he first started. He has made a huge leap in overal quality since i saw him first and with his amazing performance this Matinee, he has won me over completely . Seeing Corey on Friday and Oliver on Saturday is very interesting since they are such different Billy's and that keeps the show so fresh. Corey is a more gentle Billy with an amazing smile and brilliant facial expressions, while Oliver is a more grouchy and angry Billy. It is like seeing 2 completely different and amazing shows which makes coming back all the more fun Expressing Yourself was Brilliant and nothing noticable went wrong. Shaun was camping it up bigtime with Ollie and you could see them having a blast . I felt so lucky to see another amazing "express" after Corey & Shaun already did such a great job on friday. Keep it up guys , you rock bigtime Honourable mention for Shaun for keeping his Michael on such a high level with every Billy Oliver's dancing was amazing in Swanlake and Electricity , i thoroughly enjoyed it . He has also made the angry dance more his own by doing a little more ballet and tapdance than the other Billy's. These little differences make you enjoy the show so much more , because the show changes with every Billy. The rest of the cast was in good form supporting Oliver to go to great hights. The tallboy was smashed into the wall with a loud bang and almost leaving a dent in the wall... poor thomas... Another High Quality show that really rocked
Tessmagnolia Seeing Olly's performance was a last minute decision, I decided to trade my Travis seat in for a better one (at the managers very generous discretion) and they had the 17.50 seats left for the matinee so I thought what the hey, he didn't bowl me over last time, so it's always good to see it again - and it's only money! I really enjoyed the view from up in the very back of the gods! The lightening and atmosphere really engulfs you up there and the Swan Lake has much better vantage point when you're higher up. The family sat next to me said it was the best 'finale' they'd ever seen from a musical! They thought Shaun was hilarious and loved Olly! They were also confused when trying to match the faces in the program to those on the stage! They were still not convinced Jackie was playing Mrs Wilkinson.
Alan Roger It is interesting the way Oliver has developed a very clipped line delivery for his Billy. I have been a little concerned about this as it is so precise to the point that a word or phrase may be lost. I was told it was typically Wearside and Oliver had been coached in that method of line delivery. However on Wednesday night I met a person in the audience who sees Billy regularly and comes from the neighbouring village to Easington and he told
59 Oliver Taylor in BETM: Dossier me that he had never heard clipped word delivery in Wearside. He, like me, was a little concerned that overseas visitors to the show in particular might struggle to catch what Oliver is saying. I would welcome any thoughts on this from people on the Forum better aquainted than I am with the North East England dialect.
BAGPUSS In my comments regarding Olivers debut performance, I described his delivery as being somewhat 'clipped'. (sorry, haven't the time to find the actual post) Having watched him in subsequent shows, I still find this remains a feature which personally, I can't help focusing on. I do originate from 'up north' but have lost my northern accent long ago. There are some local accents that have a 'clipped' characteristic, but in regards to Oliver in particular, I believe that it is more to do with how he shapes his mouth in verbal delivery. I would suggest, quite understandably, that Oliver has found difficulty in mimicing the Easington dialect and he is trying to achieve this in contorted mouth movement resulting in his somewhat clipped presentation. This is only my opinion of course, and I would really like to hear the views about this from the specialists who teach the 'accents' used in the show.
Alan Roger MrBeam wrote: It would be very nice if someone could explain what is meant by "clipped accent". I've seen Oliver on stage and didn't have any problems to understand him, but my english isn't good enough to figure out those small differences in the pronunciation. On the BE audio CD the word "electricity" is pronounced "electricihy" - is that what you mean with 'clipping'? Thanks for any help, A clueless 'overseas' guy
'Clipped' in the sense that I used it refers to the spoken word which can be delivered with length or briskness and an abrupt ending. Oliver tends to favour the latter.
August 25, Saturday evening
Fizzipop My first time seeing Olly, Shaun, Jackie and Steve Elias since his return. I was really impressed with Olly, he portrayed a Billy with real vulnerability, real highs and lows of emotion and that damn letter song got me all over again....I blame it on being a parent My goodness me, what a talaneted young man Shaun is; absolutely deadpan delivery which is just sooooo funny terrific dancing and singing. Steve Elias was just as good as I remember him, it did seem strange to revert to the two separate characters but its this sort of thing that keeps the show fresh and interesting. I've not seen Paddy as Grandma before and she gave us a very different character, not quite so confused and it is interesting to see an alternative interpretation. I don't know what to say about our new Mrs Wilkinson as having loved Haydn and Sallys performances in the role, I can't help but compare her against their very strong charactarisations. I think I'll wait until I've seen her again. Final mention must go to the MD, I had never noticed how supportive he is to the cast, sounds silly I know but obvioulsy I'm normally looking only at the stage. I think conducting must also be as physically exhausting as a work out at the gym.....not that I would know about that though
Electricity I was also at last night performance and it was the first time in ages that I'd sat in the Dress Circle - certainly a different view from up there to sitting in the stalls!!! I thought the overall show was brilliant. Olly is a great Billy and I really warmed to him from the start Like Fizzipop has already mentioned, Shaun is a star, he's a very funny little guy who can capture the audience instantly with his role of "Michael". The ballet girls, James Gaddas and the rest of the cast were brill. With regards to Jackie Clune, well she is certainly different to Haydn and Sally. At times I felt she was a little like Julie Walters from the film but similar to what others have mentioned, I feel that I need to go back a few more times to get use to her portrayal. A couple of other comments... firstly I felt that the sound was a little under-par? It may have been where I was sitting but somehow I felt it could have gone a little louder to create even more of an atmosphere in the theatre than it did.
60 Oliver Taylor in BETM: Dossier Secondly - with a little mis-hap that took place during "electricity" where a couple of words were forgotten I take my hat off to the MD who brought everything back on track and the professionalism of Olly to carry on going the best he could
Born to Boogie Good to read these reviews of yesterday's performance - thanks. I've sat in the Dress Circle a couple of times in the past few months and have wondered myself about the volume - especially if you're further back in the Dress Circle a proportion of the 'punch' the show has from the stalls doesn't seem make it far under the 'overahang' from the Grand Circle. It also gets so hot back there I think that section of the theatre has its own micro-climate! Oliver is an outstanding Billy and I'm glad that you had the opportunity to see him. He has real strengths in many areas - his dance, acting and singing are all particularly strong (and the 'clipped' delivery of the lines we've read about doesn't bother me at all - although there can sometimes be a tendancy to rush things, which we don't see with Travis or Corey for example, which does affect the audience's ability to take in what is said/meant on occasions). I also like the truculent way in which Oliver plays the character. There is a real match between Oliver's Billy character being surly and at the emotionally 'harder' end of the spectrum of how we see the part being played and Jackie's equally hard and often dismissive exterior as Mrs Wilkinson. It makes it all the more meaningful when they both soften towards each other towards the end of the show. I'm also pleased to hear yet more good press and support for Shaun as Michael. I commented after Friday evening's show about how impressive his portrayal has become and it's good so see him attracting so many other supportive posts in a week when he has performed several times.
Helen I was there last night in the Dress Circle and I too thought that the sound quality was definately below par - I really struggled to hear some bits. It was the second time I have seen Olly, the first time being his opening night, and I was really impressed again with the standard of his singing and dancing. Yes there was a hiccup in Electricity but Olly handled it brilliantly - I was with somebody who had never seen the show before and I asked her afterwards and she hadn't thought anything was wrong - it's only us who have seen the show so many times who notice these little things that go wrong - as I watched Olly singing Electricity and that split second when I realised he'd gone wrong, it felt in my head as if everything went in slow motion and I literally held my breath, singing in my head the words Olly should have been singing - Olly did a magnificent job of recovering and he should be really proud of himself. There are a couple of things I'll comment on later - but I'm just off out to some friends for the afternoon (shouldn't really be on here but I just had a spare 5 minutes)
Alan Roger It was good to see so many Forum members last night even if they originally bought their tickets expecting another performer. And no I am not repaying hotel bills!! The trouble is that the gang grouping of us is regularly mistaken for the ice cream queue at the front to the dismay of other patrons! Oliver did indeed perform well and recovered with assurety from his small blip in Electricity. He remains a very grouchy Billy although I think less so than when I saw him before. His face generally conveys utter disdain at all going on around him yet when he smiles he lightens up his Billy considerably. I would like him to do this more especially when he is dancing as I fear some of the audience may not warm to his Billy as much as they should. Oliver's singing is first class and his dancing throughout has style poise and gracefulness and one can see his ballet pedigree shining through. Oliver's early routines were watched by a production team member in the Billy box who seemed very pleased with what he saw. The great thing about Oliver's Billy is that it never leaves me in the comfort zone and I am challenged throughout by the portrayal. As previous reviewers have commented Shaun continues to be a revelation. Last night we had a new Shaun joke in Expressing Yourself; 'How do you make a cat drink?' 'Put it in a blender' As Michael says elsewhere 'Oh Dear' Hope the RSPCA were not there last night I thought also the Ballet team were first class last night with lots of energy throughout. Thanks to one of the Ballet Mum's I met I want in particular to mention Stephanie Firth who dances points and is to be seen in a pink top with a butterfly motif on it. Without knowing who she was I have often marvelled at her dancing which is very elegant, graceful and assured. Stephanie has also a very expressive face and her looks at Mrs Wilkinson and Billy easily match Leyci's evils. Like others have said I also want to congratulate the MD last night who is very interactive with the show and always conducts with energy and verve. No wonder he needs a drink with him as he must sweat buckets. All in all a great show last night and I hope Oliver took a great deal of confidence for what I believe was his first Saturday night.
Jabka
61 Oliver Taylor in BETM: Dossier Before we start there are a few firsts to tell you about:: 1st Review so please be kind 1st time going alone1st First Saturday 1st time seeing – James Gaddas, Shaun, Paddy, and several other cast members. The show was great and so was my seat, right on the centre aisle, the only negative I had a man in front of me who was either suffering from a broken neck or auditioning for a job as a nodding dog. He moved his head from side to side to middle every few seconds, meaning I had to do the same to see – I ended up with neck ache. He was bigger than me so didn’t say anything but felt myself tutting occasionally and had to stop as I didn’t want to annoy anyone with noise !! Back to the show, James plays Jackie very differently and much harder and fiercer than David who I have seen previously but it worked and made the whole show very unlike those I have seen before. I loved the emotion in ‘he could be a star’ it was really heartfelt, and brought tears to my eyes when he was sobbing in Tony’s arms. Shaun was a revelation! Previously I have seen Ryan who is a great Michael, but Shaun is a natural comic with impeccable timing and his facial expressions are great, it was a new experience I totally enjoyed his Michael, and I now like both Michaels for differing reasons. I think the interaction with Olly in ‘Express’ was amazing and they both seemed to be having a great time - For me the stand out song for the night. I always love ‘Express’ but last night was crying with laughter. Oh and I loved the Cat joke. I read earlier a few comments regarding ‘Electricity’ I think Olly did a brilliant job and deserves a lot of praise for not allowing a small problem to affect his performance unduly. I truly believe it was not noticed by most people in the audience, I barely noticed it, it and looked to be part of the song, with Billy being nervous answering the question at the audition. ‘Well done Olly, this proves just how well trained and professional the Billy’s are!’ I don’t think I can add anything to what has already been said, a great show, and a very different show for me as many of the main characters were different from previous performances I have attended. But I think that’s one reason I have enjoyed the 3 shows I have seen (I’m still relatively new to this, compared to many of you) and also the reason that number will increase, as every show is a new and special experience. Finally I have to add that I saw Olly on 11/08/07, and boy has he grown into Billy he was good when I saw him before, but last night he appeared more confident and self assured. GO OLLY!!
Helen agree with Alan that Olly's Billy may appear a little grouchy sometimes - I especially noticed this on Saturday in the tutu scene with Michael when he delivered the "just because I like ballet doesn't mean I'm a puff" line - Olly said it in a very indignant kind of way - and I did think to myself I much prefer this line when it is said gentlly and with a kind of softness. I really like though that in the goodbye scene with Mrs W that after Mrs W has told him he is 'f**** special' that Olly's Billy says "thank you" - Olly delivered this line in a lovely soft voice and it definately adds a little something to the scene - he is the only Billy I have ever heard say thank you at this point. For some reason I didn't enjoy Jackie Clune's portrayal of Mrs W on Saturday night, last time I saw her I thought she was excellent so perhaps she was just having an off night on Saturday. I thought Steve Elias was brilliant but I really missed Ann Emery, athough the other lady did a marvellous job I just don't think she played the part 'old' enough. Shaun was superb as ever and I wanted to laugh out loud at the Cat joke.
Dancer Not much to add to all the previous excellent reviews of Saturday night. Like several other forum members, I was sitting in the Dress Circle in row C towards the aisle and you really do get a completely different perspective than sitting near the front of the stalls. The dancing scenes in particular really stand out and when you're watching someone as good as Olly it adds even more to your enjoyment. I also like the way individual spotlights pick out a performer or a group of performers, following them around the stage. Danny gave the loudest "w***er" to George I've ever heard, much to the audience's amusement! Shaun gave us a new joke, thanks Alan for recalling it. I think the other one was Snowballs. Tim as Tony grows on me the more I see him. Again I thought he was really good and made me wonder whether perhaps Chris can be a little bit over the top sometimes! He is just so passionate! I have seen Paddy as Grandma a couple of times before and enjoy the slightly different way she plays her, being younger, and to me, not so dotty. And yes, Paddy is the lady who takes the Small Boy's hand after he gives his lollipop to Mr Braithwaite. I was wondering, is Mr Braithwaite Small Boy's dad? There's another scene after Electricity where SB takes Jackie Elliot's sandwich from him and gives it to Mr B. Shaun was as funny as ever in the deadpan delivery of his lines which makes them even funnier due to his impeccable timing and just the way he says them. Olly was on top form on Saturday. His singing and dancing were brilliant and I wish he had held his final pose at the end of Electricity a little longer as there was no sign of the audience's applause ending! I was vaguely aware of a minor blip in the Electricity song but it was so well covered up that I reckon none of the audience realised anything was wrong apart from us forum members! Olly more than made up for his lack of smiles during the show by beaming throughout the finale. Afterwards, he kindly signed my programme, and I don't know if anyone else has spotted this but he signs "Olly" not "Ollie".
62 Oliver Taylor in BETM: Dossier Anika Today evening I had the privilege to sit next PaulWilly and to meet some ForumMembers , hello by the way. Danny was on tonight , I haven´t seen him before and he is really a cutie! But now first about Olly, my girls and me all thought Olly would be a very soft and shy Billy and so we were very surprised after he answered back “It´s to do with Maggie Thatcher, isn´t it?”. At first I thought that it´s a bit weird that Billy is that harsh because I haven´t seen any portrayal of Billy like this before but after some time I really like it. For me this portrayal shows a very sad, confused and desperate Billy who does not know how he shall react to things and so he is angry. For me it was like that because after he has been nasty again he always seemed sad and then he smiled again. It could get a very enthusiastic Olly-review but that´s just because we were so astonished. We´ve only seen this video of what he has performed with his school and we didn´t like that at all so we haven´t been very pleased with Olly, but our minds were changed completely after this performance. “Breakfast Scene”: I enjoyed how Olly says “Helloo Granma,” very nicely and then suddenly “Granma I´ve found this in the …”. Of course every Billy is special in that scene but Olly got so mad at that. I loved it “Boxing Scene”: The dance was of course hilarious as always and I really like Olly´s “dirrty”-move (from the ground up and pushing your bum while that). Shaun was of course great! “Expressing Yourself”: I dunno but Shaun was better on Friday. He was hilarious but on Friday he was bit better. In exchange we had to love about Olly all the more. He acts so queer! Above all when he sings “cause what the hell is wrong…” for the first time, you have to see his face and have to hear how queer he sings! And Sam and his father enjoyed that scene also very much I love Shaun´s jokes so much “mmm sister!” and all that stuff. They´ve enjoyed theirselves really and they had both these wonderful smiles on their faces. “The Letter”: Oh,wow beautiful! Of course I cried again. “Born to Boogie”: I love the grimaces all the Billys are doing while that song ! And Olly does a well job in that, too, and he is smiling so much while that song. “Angry Dance”: Wow! He was in a very good form tonight! Amazing how he still able to shout so loud at the audience at the end (I couldn´t hear Layton nor Corey the other performances cause I was sitting upstairs) “Merry Christams Maggie Thatcher”: Today Shaun didn´t dance like on Friday but he played well the Saxophone. “Deep Into The Ground”: I didn´t think he could sing that high but it was no problem for him! Breathtaking “Winter Scene”: Shaun waited very long for his “ooh” which was just droll! “Electricity”: He sang amazingly. And never mind the wrong lines. Oh god you could really see the desperate on Olly´s face as he looked at the MD and the blush… but he went on phenomenal and so I don´t think people have noticed except us fans. He was very broken after the “Goodbye Scene” but you didn´t notice anything at the Finale. He smiled through the whole song , aw and what a lovely smile he has. + Oh and I had to add that today there was an other Tony. he was different but I liked him! I do know the man but don´t know his name... I´ll have a look at the programme... PS: And sorry for my bad english again
Bobbyswfla The reviews always reinforce my impression that BETM is never quite the same from performance to performance. A playwright neighbour of mine told me once that: "I wrote the words and set the scenes, but the director and the actors honed the charactors to make them take life on the stage". This is a long way around to saying that Oliver Taylor has certain acting gifts that the production team exploits in defining the lad's interpretation of the character. It is a team process. The performances are constantly being reviewed, so it is no accident, nor an actor's whim that makes Billy truculent.
August 27, Monday evening
Anika Today the show started 10 minutes later and my girls and me were just waiting for Harry to climb up the stage. I really liked the way Jonty said “Well see ya boxin then?”. Because Olly says his lines annoyed and angry it works so well that Jonty said it also a bit annoyed. It was so funny “Breakfast Scene” we had to laugh so much when the placard fell to Row A Olly threw his trousers on the wall by the way and it was taken away in Solidarity ( we thought it was funny ^^) “Boxing Scene” I ´ve always been waiting for that Olly would shout “ooh ooh ooh” when he jumps backwards. It was really hilarious when George´s hat was hanging in front of his face. Trevor had to laugh a bit and it was great that he gave a short look at the audience. Really great. You´ve done well, Trevor and you too Oliver, cause you didn´t begin to laugh or anything.
63 Oliver Taylor in BETM: Dossier “Toilet Scene”: Amy´s just wonderful. I really like her ! Olly always gives a long pause before he finally answers “nah”, he really looks like he doesn´t know what he really wanted – awesome! Olly was smiling smiled so much when he said “Don´t worry Miss, I´ll put me alarm on” (I don´t understand how you all can say he doesn´t smile enough but never mind) “Angry Dance”: We always thought that after Tony says "Go on dance..." Olly would shout very angrily "NO!" but he then surprised us with being very cold and with a very simple "no" Oh the first throw didn´t hit again *lol*but great again of course. “Electricity”: Yay, Olly I knew you could do it! It was wonderful. Olly uses to say “the dancing” in a very exited way which makes it always a laugh! PS: And sorry for my bad english again
August 30, Thursday matinee
*cazzy-lou* was my first time seeing olly today & thought he was tremendous, and not as grouchy as i had expected from what people have been saying on here, alot more smiley then expected which was good not going to do along review just a few points well shaun decided he obviously couldnt be beaten on my most seen Michael list so i have now seen him 3 times compared to the others once, but i dont mind as i love him anyway. express yorself was really great, but the audience were not particularily responsive, jokes were "Cat drink" & "snowballs" in solidarity as i said in the "incidents & accidents" thread the lady next to me basically ended up with a newspaper in her lap :p the ballet girls were fab, i love sitting so close you can really see their facial expressions & some of them just have the best, especially susan parkes !! Raefn Webber is the cutest ever, he got an awwww as he climbed on stage, was adorable & his "oww jesus" & "wanker" were met with great laughter. in the finale i could see Raefn off stage & he was dancing along bless him i noticed the exchange between md & Raefn but no idea what was said at the end of what was a superb electricty Olly lost his balance & fell over but he recovered quickly stood up & giggled abit as he got his well deserved applause born to boogie was great, i really liked Steve as Mr Braithewaite Was a bit dissapointed to not see Jackie as i havent seen her yet but Kate was as good as ever i really like her portrayal as Mrs Wiliknson !!! I noticed Shaun's dancing in merry xmas as i have never noticed that before but was very amusing, the pretending off playing an instrument etc & he was doing the mexican wave with a ballet girls plaites Olly's "put off dance" was very very very funny I really like Olly's singing voice as soon as i first heard it in "stars look down" swan lake was excellent the timing was very good & no chairs were dropped Olly got a massive appluase as he span up in the air !! The Letters were both good, not quite as emotional as i have seen but i really like Olly's singing voice as i said before so it made me really enjoy them both The audience weren't great, and there were empty seats at the ends of the rows behind me Overall the show was absolutley fantastic, not one of the best i have seen atmosphere wise but the actual show was still wicked !!
hecouldshine Thanks for the review Caz. I really enjoyed hearing all about it. I would love to hear Olly's singing as well. Everyone I've heard so far (Liam, Colin and Leon) had broken voices by the time I heard them so I was slightly disappointed, although I guess that means their dancing was stronger. It sounds like Olly's got fantastic dancing with an unbroken voice! Other people have commented about him having more of a choir boy style singing voice. What did you think? Sorry you didn't get to see Jackie, I'm curious to see her too.
*cazzy-lou* No problem, glad you enjoyed it Yea Olly can certainly go much higher then most of the Billy's i have seen & yea i kinda understand the comment about a choir boy voice, it is rather like that
Alan Roger Oliver certainly stirs up a debate as was the case among the Billy Forum fans who were there for Thursaday matinee. Some found his Billy very hard to warm to others had no problem. I find myself increasingly receptive to
64 Oliver Taylor in BETM: Dossier Oliver's interpretation after initial doubts. One reviewer on Sunday referred to the 'vulnerability' of his Billy and I think that is spot on. I think it was one of Shakespear's characters that was described as 'all sound and fury signifying nothing'. I think then that the irritability of Oliver's Billy has to be seen in that context i.e. covering up for the deap laid insecurity which is ruffled when Billy is confronted by Mrs Wilkinson and her girls and his developing inate love of ballet. Well done and all credit to to Oliver for stimulating all this debate. As I said in my review Oliver is a very challenging Billy and that must be a good thing.
Remi
65 Oliver Taylor in BETM: Dossier September
September 8, Saturday matinee
Alan Roger I am surprised that there has been no comment so far on Saturday matinee. Oliver-Johnty and Leyci. This has to be the best show I have seen from Oliver played to a very enthusiastic and responsive audience. Oliver has come down the scale from his very irritable Billy and what we now have is a very balanced portrayal of Billy's jouney of exploration. Oliver is a very graceful and elegant dancer and his poise and execution of dance particularly ballet was first class, Swan Lake and Electricity were beautifully danced and the latter drew extensive audience applause. Oliver also has a very sweet singing voice which is clear and very tuneful. As stated he was less shouty and more smiley than last seen with added emotion when required. Oliver is so much more confident now and has really settled in and his acting is as a result very believable. Johnty looked very much at ease as well and brought plenty of fun and pathos to Michael. A very aggressive performance from James Gaddas also added to the tension. A mention also of tall boy Nicholas who hit the screen so loudly that the audience was clearly shocked especially as all this was perpetrated by an angelic looking child who looked as if butter wouldn't have melted in his mouth. Raefn as small boy also excelled although Alex wasn't beaten up so badly this time. I really recommend people seeing Oliver at the moment. He is in a rich vein of acting, singing and dancing form. I was also intrigued by the MD who I had never seen before but who conducted with considerable elan.
JW As Travis Yates took his final bow, amidst the cheers, the tears, and the bravos I wondered for a second whether I'd become jaded with the show. Will a Billy, no matter how brilliant he may be, be able to quite capture my heart in the same way that some of their predecessors have done? After yesterday's matinee, I can confidently answer YES to that question. How silly to even question the magic that is Billy Elliot. Billy's story is constantly being re-invented with the arrival of even more actors playing the role. Each bring to the role, a new twist, a different reading, that challenges the viewer and allows, nay demands, multiple viewings to grasp the essence of this story. There are those actors for whom the story of Billy is one of building a relationship with Dad and coming to terms with the community he is a part of. Then there are others where the focus is perhaps slightly more on Billy's desire for maternal affection and acceptance of the death of his mum. Some Billys have the emphasis on triumph in the midst of adversity, of inspiration, and in some respects heroism - of success at the very end. Then there is Olly's Billy. He plays the part of Billy, as a boy so acutely aware of his circumstances and so completely broken by events, that there is a sense of hopelessness in his Billy. I wouldn't even say, as others have said, that his was an angry Billy. I think anger is too 'warm' an emotion to express what his Billy is going through. Here, Billy is so wearied and numb, that he can't be angry. Angry requires too much of him even. He's tired and lost, let down continually by the adults in his life, that he could never open up to them completely. Even right at the very end of the story as Billy takes his lonely procession away from the stage and into the great unknown, there isn't the assurance that things will turn out fine for Billy. There isn't the sure hope of something better. The viewer is left with the nagging question, can Billy ever find happiness? Will he ever be able to open up and embrace others? For Olly's Billy, the medium of dance, is but a fleeting moment where a lonely child catches a glimpse of the divine, only to have him crashing back down to the dismal condition of his life when the music dies off. The progression of the story therefore, is not one of Billy discovering dance, and consequently discovering himself, but something more subtle. It is of Billy discovering dance, finding it a source of solace and comfort, but all the while it never fully healing him, or rather of him never fully allowing dance to heal him. There's always the pain to go back to, even when he's dancing. Oliver's interpretation takes the sadness and pain in the story of Billy Elliot, and magnifies it for the viewer to experience the complete and utter depths of Billy's sorrow. The forlonness at which he sings the final "Mummy" in the Letter reply, leaves one in no doubt, that the story of Billy and Dead Mum, lives on. Will it ever find resolution, one wonders? I said earlier that Olly's Billy never lets anyone in all the way. The closest he gets to allowing another to glimpse his very core, is Mrs Wilkinson - the one who introduced him to dance in the first place. It is not through lack of trying that Billy is unable to fully let her, or anyone else in. He tries - you can tell he does by the force of his embrace with others, in the letter scene with Dead Mum, or in the Billy/Mrs W hug scene. The sheer intensity of his embrace propels the other party backwards, such is his desire to try and let the other know of his affection but somehow through a combination of factors, his efforts seem to be in vain, and you are left with the somewhat sinking feeling, as Billy bids his final farewell to Mrs W, that perhaps, just perhaps, Mrs Wilkinson was mistaken in her advice for Billy to piss off, however well-intentioned they may be. For to Billy, it seems like once again, he is being rebuffed. Perhaps, the more approrpiate response to Billy, would be to allow and respect his wishes to maintain a relationship, albeit one that depends upon him visiting when he's back home from the RBS, for it is stability and reassurance that Olly's Billy needs as opposed to a shove away even if one may imagine that to be for his own benefit.
66 Oliver Taylor in BETM: Dossier The danger in such an interpretation of course, is that it may leave an audience scratching its head, and wondering if this was not an over-reaction on Billy's part, imagining him to be a truculent, angry little boy, as opposed to one who truly had just cause for his despair. It is to Olly's credit then that at no point is the viewer left pondering that question. Olly captures Billy's grief from the moment he walks on stage, to such a degree of natural intuition, that the viewer is immediately on his side, even if they're not quite sure why just yet. Olly the actor, has in abundance a special charm that I can't quite put my finger on. Perhaps it is the rather startling juxtaposition of his portrayal of a world weary street lad who has plumbed the depths of hell and back set amidst his waif-like figure, and angelic choirboy voice, that disarms one. Or maybe it's that easy grace with which he inhabits the stage, his graceful, almost languid move when he dances which is rounded of by a rush and a jerk at the end of the dance move. In any case, as the Angry Dance comes to it's climax, and Billy rolls about, seamlessly making the transition to the floor and back up again continuing that never ending thump of crazy movement reflecting the torment that lies in his head, his voice while screaming, cracking in sheer frustration, until finally Billy collapses in a heap on the floor, the echo of final word he shouts - No! - finally dying out, your heart is left bleeding for this very fragile Billy. And when Billy soars through the air in Swan Lake (and here, Oliver the dancer displays such graceful elegance, that I found myself watching slack jawed, and for some strange reason wanting to giggle hysterically), he takes you with him, and you too feel that you are soaring through the air, and you find yourself inextricably wrapped up in Billy's story. You leave the theatre satisfied, not so much by the ending of the musical, and how you finally get to see Billy achieve his dreams and his just reward, but you leave satisfied at having been taken on a journey. You're left unsure as to how the journey ends, but you feel privileged just to have been on it all the same. Such is the power with which Olly's Billy draws you in - maybe it is his quiet introverted tone which forces a more reflective reading for the viewer, or maybe it is just the sheer naturalness with which he acts and reacts to the other actors on stage - but he has the ability to allow you to feel uncertain and sure at the same time. And as Billy walks up to Michael, plants a kiss on his cheek, turns and walks away, then stops in his tracks, turns directly to face Michael and whispers in that unmistakably forlorn torn that his Billy possesses, you sit there amazed at such a complete understanding of the character from one so young. Such a total immersion into the role, and the sense of daring which it must have taken to develop a portrayal so different from anything seen on the Billy stage previously. The almost don't give give a damn attitude with which Olly shows for audience reaction, by taking such a huge risk with his take me or leave me interpretation, displays a profundity and maturity that is quite remarkable. This is a Billy that is special. This is a Billy that has won me over so completely, and one that I can see winning me over time and time again. Rock on Olly.
ERinVA Wow, Justin! Thanks. I surely hope Olly isn't having a break when I come in October because I really want to see this Billy!
JW Alan Roger wrote: This has to be the best show I have seen from Oliver played to a very enthusiastic and responsive audience. Oliver has come down the scale from his very irritable Billy and what we now have is a very balanced portrayal of Billy's jouney of exploration.
I saw Olly on his debut night, and I was quite captivated by his Billy then even, although maybe not to the extent that I am taken with it now. My extended summer break missed the development he took during the months of July and August, but I'd say the very introverted core to his Billy resulting in a more reflective performance is what captured me on his debut performance, and I'd say that central pillar to his characterization - of a somewhat touchy Billy is still pretty obvious. Obviously I consider that a real strength, as I do tend to find that the more reflective portrayals affect me more emotionally, so I certainly wouldn't want to see Olly alter it too much. I think one of the reasons why Olly's Billy is so striking is precisely because he isn't balanced. I find that Olly's Billy isn't a kid who turned out balanced despite circumstances, but he's one on whom misfortune was cast upon and who never seemed to find an avenue away from the sorrow, who even at the very end is barely clinging on to hope by the single and fragile thread of dance. His Billy is a real tragic character, pathetic in the sense that it is full of pathos, and that is what makes him, to me anyway, so utterly compelling.
Jabka WOW JW thanks for a great review, I totally agree with you. I've seen him twice and his performance really does pull at the heart strings.
67 Oliver Taylor in BETM: Dossier Alan Roger Excellent review by the way. Oliver is really turning on the magic at the moment. His rather shy and reserved Billy ('lonely tragic figure') is probably portrayed so well because Oliver is himself quite an unassuming person when you meet him at Stage Door.
ERinVA billybuddies4eva wrote: what does unassuming mean ?
It means "modest, not egotistical, not holding oneself above others."
PerformingArtsFan Utterly superb review Justin and thank you for sharing how you felt about Olly's performance in such depth. The review is a great read. I saw Olly on his first night and I have seen him since. I love his portrayal of Billy and the way it has developed. He is a great performer, just like all those who play this amazing role. Olly is the eleventh Billy and just when you think it's not possible we have a fresh, exciting and challenging interpretation. And then along comes Sam and achieves this extraordinary feat again. To quote a young George, 'Amazing, amazing . . . I'm amazed'.
September 12, Wednesday evening
Fizzipop We were treated to a suberb show from Olly last night with the added treat of Kate Graham as Mrs Wilkinson. This is my second time seeing Olly and I have to say that I enjoyed his performance even more this time, he adds some really nice touches to the role and his delivery is excellent. Express was very funny and Ryan of course was great. Also my second time of seeing Kate Graham, I really enjoy her portrayal of Mrs Wilkinson and its great to see that a dance teacher can actually dance It gave Shine and Born to Boogy that extra lift that has been sorely lacking since Sally left. Ann Emery - how does this wonderful woman do it? such consistancy night after night. Same for James Gaddas who is absolutely right for his role Trevor Fox as always was very very funny, I look forward to the opening of the second act just to see what little changes he will make and he doesn't dissapoint, hes brilliant and I wish he would take a bow at the end so that we can show him how great we think he is! Dominic was playing older Billy for Swan Lake last night and gave a very good performance. Really enjoyed the show last night roll on the next time
Electricity Like Celia has just said, it was an absolute stonker of a show last night with Olly playing Billy. A few sound problems at the beginning didn't put the cast off! I found that Olly has really settled into the role now as Billy and is another great lead for the show... where do the casting directors find them! Thanks everyone for making it a great night. My mum also came along to see what the fuss is all about and she too is hooked!!!
Tessmagnolia Not really much of a review as I've been playing catchup all night on all emails etc whilst I was away, but wanted to note how much of a change Olly has taken since the last time I saw him. He's found the perfect balance of troubled, petulant, stroppy child to that of a kid finding out who he is and his love of dancing. He's smiling more when it's appropriate to do so and he's a lot more confident in the role. He also has the voice of an angel and his dancing has gone from strength to strength. His angry dance is the strongest and most emotional I've seen. And he has added an extra element to the ending. My family and I were worried he'd over done it and injured himself as it took a long time for him to get up at the end and he seemed to rub his leg slightly, but I've since read that he did it Saturday matinee too. But this delay in getting up meant the music had stopped and the lights were up when he shouted his "come on" line and this created a much stronger impact. I wouldn't have wanted to meet him in a dark alley in that mood and he looks such a delicate thing usually. I don't think Olly likes jaffa cakes - definitely not as much as Travis who would scoff the lot prior to reading RBS letter! Olly seems to take a bite throw it back and then not even finish it.
68 Oliver Taylor in BETM: Dossier A few extra notable points: He took forever to say no to Debbie when she asked he if wanted to see her fanny. His relationship with James/Dad is a lot more stronger now as is reaction to Dad's reactions to his dancing from solidarity to swan lake to Electricity you see him change from fear to anger to well I suppose fear again this time more in a way that his Dad now sees who he is and that petrifies him as he's not sure how his Dad is finally going to react. Both Ryan and Amy put in strong performances. Ryan never falters and there's always an extra element he adds into the performance to keep it fresh. And Amy is lot more clearer when giving her lines than when I first saw her. I thought Chris was back to full strength Wednesday but he only danced half of solidarity and didn't jump the fence, but by Thursday matinee he was definitely back to full dancing strength. As someone else mentioned Dominic danced SwanLake with Olly, whilst Isaac did the RBS scene with Dad. This is probably to give Dominic some more practise as Isaac was back in SwanLake for Laytons performance the next day. A special mention has to go to Kate. She plays the role of Mrs Wilkinson with grace. You can tell she's a dancer and her singing is a lot smoother than Jackies. She also chocked up perfectly during the letter. (As a side note I'm still not sold with Sara as dead mum I think I prefer Erika's voice in that role.) And in Shine and Born to Boogie you get a real show-woman's performance from her - I didn't think she was going to fall down exhausted after born to boogie. I took my mum to see the Wednesday night show and they loved it. To quote my sister: "Wow - that was... wow" "He was really excellent - is he the best?"
September 14, Saturday matinee
Wert Another excellent show. It was my first time seeing Olly and I was impressed with all aspects of his performance. His singing was clear and strong and it is nice to hear a good treble voice singing the role. His acting was good and I liked his feisty interpretation. His dancing is excellent and no matter what style he dances his posture and strength shines through. Writing about Shines through, poor old Jackie sounded like she had a real sore throat this afternoon and her rendition of Shine seemed a bit of a struggle at times, but she gave it her all. Ryan was his usual professional self and his Dad (so I was informed) was in the Billy box looking on as only a proud father can. Leigh had an excellent show and her facial expressions convey the emotions well and amuse at the same time. James and Chris were superb as always. I hope the lucky forum members who were staying for the evening performance can expand on this and add their own comments.
September 22, Saturday evening
Alan Roger I understand that it should have been Corey tonight but he has been unwell as have a few of the Billys in the last week. I wondered if the Billy House curse had also struck Oliver as he looked quite tired at times especially in the ending of Electricity when his pirouettes seemed a little laboured to me and he looked exhausted. If he has been unwell he did himself though a lot of credit with a performance that kept a responsive audience on their toes and gripped until the stage gremlins struck in the last quarter of the show. It was nice to see the audience enthusiastically applaud this Billy as he began the ariel flight as well as at it's ceiling climax. I do not know whether it is my imagination or not but Oliver looked really tall last night. Has he grown a couple of inches in the last few months? Oliver is a most graceful exponent of ballet and his uses his thin and quite wiry frame to it's most expressive throughout. His ballet training and origins are very evident especially in the way he arches his back (as Liam used to do) and uses his hands and arms to accentuate gesture. Again he sang sweetly. He is most pleasing on the ear. In contrast we had another raunchy show from Ryan which was a great audience pleaser and had all the people around me in gales of laughter. Ryan really knows how to milk an audience for what it is worth. Once again he was watched by his Dad from the Billy box and I wonder if there is truth to the rumour that the theatre are going to rename the box after him in his honour. Leyci gave another confident performance throughout and her sweet connivings were very well offset by the added grouchiness Oliver brings to his Billy. What about the gremlins I referred to? Well the bed on which Billy sat with his letter of acceptance refused to rise into the kitchen/bedroom. Full marks then to Oliver, Gran, Tony, Dad, and George for continuing to act the scene around the bed. All would have been well once the bed disappeared if the stage flooring had come back together again. It didn't, hence leaving a big centre stage hole that would have claimed the whole ballet troup and Mrs Wilkinson hence Pandora coming on stage and stopping the show. After resumption we concluded around 10.40pm so the Billy bus had to make a quick exit from the front of the theatre. This was a pity as we would have
69 Oliver Taylor in BETM: Dossier liked not only to congratulate Oliver but also Layton who must have been exhausted by his three shows on the trot. But that's life and the show goes on clearly in very capable hands based on this weekend's performances.
September 27, Thursday matinee
Rich B Just a quick word about this afternoons performance - WOW. The show started without the newsreel and went right into 'The Stars Look Down' . Olly was absolutely brilliant. He showed the full spectrum of emotions - happy, sad, angry. His Swan Lake and Electricity were exceptional and the crowd responded with a huge standing ovation to top it off.
JW I don't normally review every show I see now, because after a while I feel like I tend to repeat myself, but I just had to write a few words about this afternoon's performance, in particular the performance of the leading man, Oliver Taylor. Like Rich B, my immediate response to the matinee was just - wow. The amazing intricacy with which Olly plays the part of Billy, of layering and building complexity to deliver a narrative that isn't just a refreshing and compelling take on the role of Billy, but one that is totally and immensely moving blows me away. I'm normally especially partial to Oliver's interpretation of Billy anyway, but this afternoon, he really had me in the palm of his hand, so totally immersed was I in the whole experience, for there is indeed no other way to describe the performance this afternoon. Some of the scenes in particular were played such that it shed, for me, an entirely different light on the character of Billy. One that jumps immediately to mind is the interaction between Billy and Dad right at the end of Electricity. With Olly, Billy makes the first move - he extends his arms in the gesture of wanting to receive an embrace, a small, shy smile on his face - a surprise from this somewhat sullen Billy. When Dad doesn't reciprocate the gesture immediately and hands him his bag and coat instead, Billy's face drops instantaneously and the hurt is palpable. He grabs his things and runs away, not bothering to accept the hug that Dad, after hesitating, is now willing to offer him. One can almost read the question playing in his mind - why did Dad have to hesitate at all? This broken, very guarded, Billy is once again let down by those he chooses to show affection. Ultimately this is what makes Olly's Billy so compelling I think. Of course, it is about a boy and his love for dance, but it's so much more as well. Olly crafts a tale of relationship and community - of Billy's relationship with Dad, with Mrs Wilkinson, and most of all with his departed Mum, which even at the very end of the story, finds no resolution. You never get the sense of finality to that part of the journey and you are left wondering if Billy can ever let go of his mum, such that building relationships with others will become easier for him, or if Billy will ever cease to be troubled to his very core by her demise. I cannot help but applaud Olly for this very bold and daring take on the character of Billy. On another note, Jackie and James are back from what appeared to be their week off last week, and I must say, I think that the show is all the better for their return. It was a fantastic performance all round.
Patc Well, is there any more that can be said about Thursday matinee? It was very cold in London today but at the VPT the steam was hitting the ceiling thanks to a powerful, majestic performance by Oliver Taylor with the usual wonderful tender moments in between. I never saw any of the original three Billys but I certainly have never before seen a Billy like this one. Although it was my third Olly Billy it was the first time to see him from a close up position, Row D and I can’t use enough superlatives to describe what Billy we got today. This really is different. It’s kudos to whoever dreamt up this Billy for Oliver and he executes it to perfection. Take a bow. And the entire cast weighed in to provide a superb, entertaining matinee. It was like old times in the Thursday audience today with the Senior Citizens groups back and the wonderfully behaved school parties who always add to the occasion with their appreciative applause and cheering. What a treat it was to see Olly leading a very large party of his schoolmates down Allington Street after the show. Those of us who were there just stood back meekly in the doorways and let them pass by full of all the joys of youth. It was a strange start to the show when Small Boy appeared but something happened as the film newsreel didn’t roll. As SB stood there with his lollipop a voice was heard to shout from somewhere. I didn’t catch what was said but the MD just went straight into The Stars Look Down and everything settled down as normal. The scene where Dad finds Billy at the ballet lessons was a blazing row with Olly letting go like Roy Keane used to at Man U only with much more rage. At the end of a muscle-destroying Angry Dance he lay on the floor for what seemed ages. During the interval I felt like I needed to find somewhere to lie down in order to recover in time for the second act. Then, after a very tender winter scene with the inimitable Ryan, we got a Swan Lake (with Isaac) and, later, an Electricity to die for. I could go on but I won’t – I think you all have got the message by now. How fortunate we are to have so many different Billy Elliots to enjoy.
70 Oliver Taylor in BETM: Dossier Phil Snowdon played Big Davey and there were two other ensemble members whose names I don’t know did the Scab and audiotape man. The usual audiotape man did Posh Dad again today. They all did a great job. Once again thanks to everyone involved for a truly magnificent show today which I'd hate to have missed and which thoroughly deserved the standing ovation at the end.
Patc JW wrote:
Some of the scenes in particular were played such that it shed, for me, an entirely different light on the character of Billy. One that jumps immediately to mind is the interaction between Billy and Dad right at the end of Electricity. Yes, indeed. I have always been a bit unsure about this moment in the show. After the phenomenal display of dancing does Dad look to hug Billy and is rejected or is it the other way around? Yesterday there was no doubt and, as a result, the great big jumping hug between Dad and Billy as he prepares to leave, was pure lump-in-the-throat stuff.
Remi
71 Oliver Taylor in BETM: Dossier October
October 4, Thursday matinee
Patc Well, sometimes in life you get lucky and yesterday was one of those times. Firstly, the matinee and, like last week's Thursday matinee show, Oliver put on another powerhouse performance this time with Jonty and Amy. In the first half the audience was very slow but in part two they took off and gave a standing ovation at the end. I need to mention somebody else and that is Erica who played Dead Mum in both shows today. In the Letter her interpretation completely choked me up, particularly at that moment when she has to tear herself away from Billy. This was repeated in the Reprise.
Hughdley After being so captivated by a Travis/Ryan performance in May I thought that as I had some stays abroad planned I'd do as I did last summer and leave BETM on a super high for six months and then restart with a new batch of Billys in place. But my apetite became so whetted by some of the recent reviews that I found that I couldn't wait any longer before restarting!! I had felt that this year opened with such a superb vintage of Billys with Leon. Travis, Colin and Dean and I wondered whether I would find the new batch quite up to that crop. Having watched Olly on Thursday the answer is likely to be a very definite and resounding yes. As Alan Roger put it in a September review on Olly 'he is in a rich vein of acting, singing and dancing form.' And so, I also found, he is. Although I was rather expecting a Liam style super spin at the climax of Electricity from this acclaimed ballet Billy (and I did miss the backward flip off the piano) I was particularly struck by the sheer elegance of his dance and his graceful movement. I think that he also has the looks that fit the part so well. When he rises into the poise at the ballet class which causes Mrs Wilkinson's eyes to nearly pop out of her head at what she is seeing and then walks over to adjust his stance he has to my mind the look of a divine young athlete who will master the art of ballet and yet Olly still makes his Billy creditable as a kid from Easington. As JW put it in one of his superb recent reviews Olly portrays with his interpretation ' a profundity and maturity which is quite remarkable,' and in his review of last week's Thursday matinee he cites some examples of the different light on the character of Billy that Olly has shed for him. I'd like to add another that has done the same for me, although in this case it's not so much a different light but is a case where the point is emphasised more effectively. It is when Debbie comes out with her 'fanny offer' and there is a long pause from Olly before his 'naw' line. It is during that pause that Olly's very expressive face is telling me what thoughts are going through Billy's mind - 'Yes I'd like to see it but if she shows me what happens then? Will she then in return want me to show her what I've got? I don't want to do that. But I better pretend to her that it's no big deal for me and that I've seen it all before.' So the indifferent 'naw' then follows. Another great performance. I thought that Olly and Jonty made a good paring, and everyone seemed on top form. Unfortunately, I couldn't stay for the 1000th show but the 999th was enough of a delight for me!! Although I'm abroad again shortly I can't wait to see the others. Although I make a point of seeing a different Billy each time I feel that I'll have to return for another taste of the magnificent 'Taylors Vintage 2007'!!! - a brilliant young actor whose singing is a joy to the ear and whose elegance and gracefulness in dance is a delight to the eye.
Irishboi The first Billy I saw was Olly early in the month. He blew me away. I didnt have great seats up in the Grand circle ( my frist time I didnt know any better ) but even from up there I could tell that this boy was a very special dancer. Loved his performance and he is responsible for all my subsequent visits…
October 10, Wednesday evening
eponinechen watched Olly with my family this evening. I have to say, he is fantastic... He has improved a lot, especially his superb dancing and singing! My friends and family got very excited and impressive after the show. They wish to watch it again! So do I.... Its the best show in the world!!!!!!
tessmagnolia eponinechen - I completely agree with all you've said; he has grown into the role so well! 72 Oliver Taylor in BETM: Dossier The first few times I saw him he hadn't quite reached the full Billy potential, but the night I saw him with my mum and sister he quite simply stole the show. Last time I was in London I didn't get chance to see him, but I'm hoping he's performing when I'm down at the end of the month.
JW I think that all Billys grow and develop into the role and perhaps Olly has done this more so than others. I think it is unfair to somehow state that Oliver wasn't showing his "Billy potential" earlier on in his run though. I feel that Olly's portrayal of Billy is immensely subtle and layered. There isn't the same sense of immediate accessibility that you get with his portrayal particularly if you are used to a more outgoing, extroverted interpretation of the role. He shows the high regard he has for his audience by never actually spoon-feeding them but challenging them to think and perhaps more so than most, he recasts the role in a slightly different light. It's perhaps no surprise that a number of people have found his Billy initially hard to get to grips with. But his is one portrayal that certainly demands repeated viewings. The sheer complexity of his interpretation forces one to reflect just that little bit more, on Billy, on the challenges that face him, on the cause for his internal torment, and his inability to develop strong bonds and relationships. Oliver enhances the theatrical experience from being just fantastic entertainment into something much more - an episode and an opportunity for thoughtful, almost introspective reflection. I don't think the essence of his Billy has changed since his opening night on 18th June. To me, it's as refreshing and inventive as ever. Perhaps the fact that people are finding him more accessible is due to not just his developing stagecraft as others on this thread have commented, but also how we too as a viewing audience have begun to see the character of Billy in a slightly different way. I have seen Oliver Taylor nine times now, the first on his debut performance, and the latest (but certainly not the last time!), on his most recent performance on Wednesday, and while there is no doubt of the improvement in stagecraft, at its very core, his very thoughtful and planned characterization of Billy that I saw on his first performance remains, defiantly so I suspect, the heart and soul of any Oliver show - that remarkable and incongrous juxtaposition of tortured, struggling kid set against a backdrop of style, grace and elegance. Oliver is a truly gifted individual, and his very unique and brave interpretation of the role shows a remarkable and intelligent leading man.
October 20, Saturday evening
sfo As the lights came down, I new that tonight was going to be another great show. Within in a few minutes of The Stars look Down I was in tears. The music was so emotional and the singing was perfect. As Oliver entered the stage and, Shaun road in on his Bike. The audience fell silent awaiting the first scene between them. Take me up was performed perfectly, accurately. and was again very emotional. So the show started with a fantastic round of a applause from the audience. Shine was a masterpiece performed beautifully by Oliver and Kate Graham. Perfect dancing and super singing made this scene unforgettable. Solidarity was such a funny but also sad scene. But the actors performed the scene with enthusiasm. The police when they first come onto stage always make me and the audience laugh, So great work from the ensemble. Expressing yourself. Funny funny funny funny. What a brilliant scene. Oliver and Shaun work really well with each other. I remember that all the audience where just laughing. I couldn’t stop laughing at the end of the scene. What a fantastic well actored scene from, both Oliver and Shaun. I will never ever forget expressing your self. The jokes in expressing yourself are just pure genius. Well done Oliver and Shaun for a fantastic scene. Angry Dance, very scary. But again a well acted scene. The mixture of music and light effects and the performance from Oliver made this scene a fantastic. Everyone was on the edge of there seats. The tap and dancing was just magnificent. There no ways to describe this scene accept just to say it’s perfect. The round of applause was just amazing, A Perfect way to finish the first part of the show. Born to Boogie. Well this was just hysterical. Everyone loved this scene. Everyone in the audience clapped along with this scene. Me and the audience just loved this scene. Also is was good to see Phil Snowdon in the role of Mr Braithwaite again . Kate and Oliver again performed the scene brilliantly together. The Letter, again got me into tears. What a beautiful emotional scene. I just love this scene. Oliver puts so much emotion and dedication into the scene. There was such a silence in the audience, everyone felt the emotion in the scene. Unforgettable heartbreaking and tearful. The letter reprise was again a very emotional scene. Sarah wasn’t playing Mum tonight, but the actor playing Mum was actually crying and so was I, just brilliant. Never forget the sadness, even my Nan felt the emotion. Merry Christmas Maggie Thatcher. Just wow. It felt really like Christmas. It was wow. Ill never forget Trevor Fox teasing the audience over the rugby world cup. He told everyone that England had 20 points and South Africa had 10. Everyone cheered and then he told everyone that he was teasing. Chris then started off the fantastic merry Christmas Maggie Thatcher song. Chris singing was just perfect he is fine actor. Winter wind was again sung perfectly and professionally by Dave Bardsley. Swan lake a truly magical scene. Still bring me to tears. Still takes me out of this world the performance was nothing but professional. The best part has to be when Billy is flying. So a
73 Oliver Taylor in BETM: Dossier great magical moment performed by Oliver. Isaac James and Oliver’s timing and coordination was spot on. Forgot to mention. Grandma Song was amazing. Ann Emery was again brilliant. She really loves here role. The amount of energy she puts into here performance is amazing. So well done Ann. Electricity what a sight, what a wonderful thing to ever be thought of. It’s the most emotional thing ive ever scene It’s the second time ive scene the Ballet version o electricity. And its still fantastic. The music was slightly different. But still highly emotional. The emotion, professionalism, energy and dedication that Oliver put into his performance was just amazing .Brilliant and superb dancing and singing. The audience was again on the edge of there seats. At the end. The round of a applause lasted around a minute. It was just brilliant. As a professional actor Oliver just waited there until we had all finished. I think he was surprised with how long the clapping lasted. But he just smiled and waited patiently. So again another electricity I won’t forget. The closing scene from Billy getting the letter to the reprise, and Billy saying goodbye to Michael. It was just again highly emotional and I had never been In so many tears. It was just magnificent. I will never ever forget any of this. Some of the best memories I will ever have. Thanks to this fantastic musical. Finale, I have always loved the finale. All the cast working together to create a long lasting atmosphere and making everyone night end with a brilliant burst of emotions. The finale always says, that’s everyone is different it’s a natural state. That’s true but for everyone who has seen the show. Where all not that different everyone has felt the same emotions and has been affected by the story Billy Elliot the musical. The standing ovation at the end was just overwhelming everyone in the dress circle grand circle and stalls stood up, everyone stood up add the ovation lasted for ages. I think it was loud enough to be heard from any planet in the universe. I will never forget that. To conclude this review I have to say that Oliver performance as Billy was just exceptional and brilliant. He is a fantastic Billy. He brought last nights show alive. As I said in a previous review he continues to show. Dedication to the musical and the original movie. Shaun performance was again wonderful and hysterical he is a pure comedian. Leigh Laurie performance as Debbie was fantastic. It was again a pleasure to see Kate Graham and David Bardsley perform as Miss Wilkinson and Dad. They are two very dedicated very strong actors. They again brought there characters alive. Ann Emery s role as grandma is full of energy and experience. But last night she also brought here character alive again. During the Grandma song she made everyone giggle and laugh. Chris Lennon role as Tony was nothing but exceptional. He did sound unwell but he proceeded and sung and danced brilliantly. Well done Chris. I would again like to thank everyone in the musical for another great night. Your dedication to the musical and bringing a wonderful story to people life’s is just fantastic, Thank you. And well, done to Oliver, Shaun, Leigh, Kate, David, Chris the rest of the cast of the ensemble. I hope to see the show again in the next 3 to 4 months. But again when will that be and who will it be.
Dutchboy There is already a very extensive review of Oliver/Saturday so i will do a small one... I also saw Oliver on Saturday Evening and i really love and enjoy his grouchy, angry Billy. His Billy is more of an angry young man... a kind of James Dean among Billy's... Oliver gave overall a great performance with great emotional depth and great facial expressions. His interaction with Shaun as Michael is great. A minor point of criticism is that there were some small missteps in Swan Lake, but the audience probably didn't notice. Since this is a live show we cannot expect 120% perfection every night. I'm sure his swanlake will be flawless again next time. Oliver did a good job and was rewarded by the audience with a big applause which he so well deserved. Oliver is an amazing Billy, and so refreshingly different than the other Billy's, and i hope to see him again next time There is already a very extensive review of Oliver/Saturday so i will do a small one...
October 23, Tuesday evening
Mad About Billy Well, this was my second show in the space of a week, and it was well worth it. It was a good sized audience for a weekday, and they were all very responsive. It was the first i have seen as Jonty as small boy (not sure if he has done it before) and as you would expect, he gave a very comical performance. Olly was fantastic, his dancing superb, and his singing voice beautiful. I was very impressed. I like the anger he shows as billy, it is a side i havent seen since George. Ryan was good as always, and i was pleased that the 'Kevin f*****g Keegan' was not shouted down the microphone, but just said in a normal manner. A few people missing from the cast, so we saw David as Dad, Katie as Mrs W, and Tom as Older Billy. All gave superb performances. All ran pretty smoothly, but as a warning, if you are in the front row, dont eat crisps at the start of the second act or you will get picked on! The drumming was fantastic, and generally so was the music, but for the first time ever, i heard mistakes . But we are all human, and on the whole the musicians were great as always.
ERinVA Not a full review, but a few comments.
74 Oliver Taylor in BETM: Dossier First time seeing Oliver. I liked his take on Billy very much. From previous reviews, I expected an angrier Billy than I saw. There are flashes of anger, to be sure, especially when he calls Dad a bastard, but overall, the adjective that I like better for Olly's Billy is "moody." His dancing, especially in the ballet portions, is very precise and technically proficient: a pleasure to watch. I also liked his tap. Angry Dance, was well done. I hope as he grows and gains in strength, this will become even more forceful than it is now. My most favorite Olly moment was his fanny scene with Leyci. His pause was enormous, but every second of it was filled with a variety of facial expressions that ranged from shock to maybe to maybe not to the final refusal. He almost decided twice to take her up on the offer and got a huge laugh each time. Brilliantly done! Ryan as Michael. So nice to see Ryan having really come into his outrageous own in the last months of his tenure. His timing is impeccable throughout the show in both the comic scenes and the poignant ones. His final scene at curtain down is just beautiful. Leyci as Debbie. It was great to watch her close up from Stalls row B. Lots of nuanced acting there. She has always been known for her "evils," but there is so much more to her Debbie that just that. She makes me feel so sad for Debbe, who can not succeed with either Billy or her mother. In the Christmas scene when she comes out to speak to her mother and is told to "piss off," I was just so sad for this little girl. That's it for the Tuesday show, as I am tired of standing up at the computer to post. Saw Sam for the first time last night, so will post about that show soon.
Tzwicky Olly is quite a staggeringly beautiful Billy to return to London to see. Well worth the flight time. In a word, and I've decided so far that going for a single word (more or less) to sum up my week's worth of individual Billy experiences, is that Oliver is an intensely focused Billy. I was ready for an angry, petulant Billy, and I could see that in there, too, but for me, Olly's calling card is intensity. I half think that were a set piece or player missing from a scene he was in, Olly could blast right through and shake it off. He's that good. I've got to think, that of all the Billys I've seen, his Billy is the closest to whatever serves as the technical dance script for the show. I think Olly dances the show that Peter Darling wrote, before he ever saw a Billy cast in the show. The dance steps, broken down into individual moves, segments, sequences, scenes, are out there, written down, waiting for a Billy to be cast and then fitted to the dance moves, individually. I've got to think that Olly is Peter's Billy, jumped right off the page. Olly's Billy fits naturally into every scene in which he appears, and then rises to shine every time there's a possibility for Billy to shine. Not that I am in any way speaking from a dance background, or anything close to it, but it just seemed, to this viewer, that Olly is dead-on. He's brilliant. He's precise. He's measured. He's there full- time, dancing full-bore, full-tilt. I was (not to belabor the point) gobsmacked. Watching much of the show through my enormous binoculars, which gives me a field of view (from Row D of the stalls) of no more than 3 feet wide, I am right there face to face with any actor I'm watching. In the case of Olly's Billy, you see the concentration, the force of his connection to what's in front of him or in the case of a large scale dance, the full stage on which he is performing. It's amazing. And with Olly, with his really deeply set eyes, it's sometimes difficult to get that concentration (or so I suspect). In the scene where Billy twirls right up to his dad with an excellent flourish, all the while seeking his dad's approval, Olly is there, nose to nose (in this case with my fave Teddy Bear of a dad, David Bardsley) and the moment lasts, and last and there's massive anticipation. And then finally Dad says, "Go home Billy." Crestfallen hardly does justice to what inundates Oliver's face, then his entire body, as disappointment washes over him. I nearly yelped out loud, along with the occasional audience member who is, I suppose, experiencing the show in a way I can no longer, as a BETM Virgin. Yep, that scene, that moment helped crystallize the show for me on Tuesday night. Olly, IMHO, if a full-tilt, technically precise, focused and self-starting Billy. And if it isn't obvious from my above words (this is where readers can jump in and say, "What the hell is that guy saying?") I just adore Olly's Billy. It was a great way to start off my week's worth of Billys in this Billython of 8 shows. Yep. Olly gets a huge thumbs up from me. I'm supposed to be seeing him again in just over 2 hours, so I hope I feel the same, if not more, after that future show. Ryan was a delight, as always, as Michael. Geez Louise, but that boy has grown a lot since June of this year. But he still works perfectly in a role that must have been imagined for a smaller statured boy to play against Billy. Jonty served up a really not-very-small boy .... but more on Jonty next time, who introduced me to his best Michael ever, just the following night. All in all ... a spectacular night. And ...... the phenomenon that is Ann Emery still plays on as Grandma. Just amazing.
JW
75 Oliver Taylor in BETM: Dossier All these Olly reviews make me want to see him again desperately! Even though the last time I saw him was on Tuesday... Ellen feels that Olly's Billy is less angry as he is moody. I'm not quite sure myself. I certainly agree that his expression of anger isn't the type we normally associate with that emotion - of sound, rage and fury. His is more a restrained anger. An insouciance, or a weariness even. As someone who has lived in England for the last 9 years but wasn't actually brought up here, it seems to me an almost stereotypically 'English' anger. In fact I find Olly's Billy very English. The withering looks when annoyed, the stiff upper lip combined with a trembling lower lip when on the verge of tears, the false bravado as part of a desperate act to pretend he doesn't feel - it's all...delightfully English. Those keen on such details will certainly appreciate that Olly is keeping up at his gymnastics. He now does the backflip at the start of his dance routine in Electricity, and also it's been re-choreographed slightly with more ballet elements included and all around better positioning - the in-out arabasque was simply majestic on Tuesday. One change I wasn't particularly keen on which I saw on Tuesday was the subtraction of the kiss on the hand at the end of Grandma's song. The kiss on the hand, although technically a gesture derived from the ecclesiastical world, is generally one that is popularly associated with chivalry. It seemed eminently suitable for Billy - the little man of the household - to emulate that gesture for his grandmother after she recounts her tale of suffering at the hand of his grandfather. Here Billy is saying implicitly, through his very chivalrous kiss of her hand that he is not like his grandfather - that he doesn't want to become his grandfather and that he wants to break from the mold - a plot point that is highlighted throughout the rest of the show. It links very well with the protectiveness he displays earlier on in the show in the breakfast scene, and also in acquiring her a pasty. Not only that, it drags the emphasis of the scene back away from Grandma to Billy (who is after all the lead) by focussing on his response to her story, making the point of the song more about Billy's response and a way of highlighting his relationship with Grandma than it is about Grandma per se. Without it, it seems almost as if Billy is in the scene merely as a prop for Grandma to get a few laughs. Finally, aesthetically speaking the moment when Billy bends and touches his lips on Grandma's outstretched hand is I feel, a very iconic moment. It looks almost like an artistically taken photograph, equivalent to say the famous shot of Billy facing the miners with their lamps on seen at the back of the programme. It's a shame, I think, to lose that particular moment.
October 25, Thursday matinee
Patc An early surprise was the appearance of Jonty as Tall Boy in the opening scene. When the real Tall Boy stuck his head through the door a while later I was wondering if I had been seeing things but an interval pow-wow confirmed that, indeed, it was Jonty. The VPT was packed to the roof with a huge proportion of the audience comprised of children (half-term, apparently). For the second time at the VPT I found myself seated beside a boy who had auditioned for Billy but he told me that he had been unsuccessful. Once again, Olly took over from the start with a particularly vigorous version of Take Me Up which took him across the stage at a rate of knots with Small Boy (Danny, I think) having to work very hard to keep up but he did so admirably. Alex was back doing Mr. B again and it was a treat to watch having been deprived for so many long months. The splits brought a huge round of applause from a very appreciative audience. I got the impression that Olly turned his angry Billy down just a fraction today to fit in with David B's Dad but it was no less effective and I agree with those who have mentioned David's fine singing of Deep Into The Ground. Take it as read that all the usual superlatives apply to all the cast, Swan Lake, Electricity, Angry Dance etc. I must ,however, mention especially again the performance of Kate Graham. Her Mrs Wilkinson is an absolutely class act. You can't take your eyes off her when she's on stage. There were a few small subtle changes to some of the scenes that regulars will notice but I'll leave you to discover them yourselves as it's fun to spot them. Today, I sensed that there were also some slight subtle changes to the music but am not musically qualified to give details. It just sounded a bit different at times. Anticipating audience reaction to the Esquire joke is always fun and, today, it brought great laughter and prolonged applause. So, another Thursday Matinee ended with a departing audience buzzing in the foyer and on the stairways. For me, the aftershow "Intercontinental Meal" in the Shakespeare was the icing on the cake (you all know who you are). And, y'all have a safe journey home next week.
76 Oliver Taylor in BETM: Dossier November
November 1, Thursday matinee
JW Not a review as such - just a brief report on today's matinee. Oliver played Billy, Shaun played Michael, Leyci was Debbie, and Layton stood in for Tall Boy. Superb performance by all the cast. I'm so glad to see James and Jackie back in their respective roles - James in particular is superb. Somehow I really believes in his Dad and his love for Billy. Layton was very convincing as Tall Boy especially as the posh boy at the RBS where he seemed to have taken quite a resounding knock to his head. Oliver and him couldn't stop smiling at each other when Layton first walked on stage at the safety curtain scene at the RBS, and Layton quite cheekily added messing up Billy's hair when attempting to comfort him! The chemistry between Oliver and Shaun is spectacular. The fit between Shaun's very young and carefree Michael and Oliver's slightly dour, melancholic Billy just worked so well. The intensity of the winter scene and the goodbye scenes were quite breathtaking. All in all a superb show. I don't know how else to say it - I think Oliver is just such a star. Seriously impressive performance once again which brought me to tears twice - at the Goodbye to Mrs W and the Goodbye to Michael.
November 3, Saturday evening
JJF All I can say about tonight show is WOW. I am unable to write a review. I am speechless and gobsmacked have just witnessed the finest piece of theatrical performance I have seen. OH MY GOD - can it get better than this. Oliver was just undescribably amazing. I will leave it to someone else to put into words. Or see the comments in Ollie's thread. To quote from the show - tonight, Oliver's performance was "really f***ing special". Wow.
JW This is going to be a very erm..superlative filled post but I can't help myself. Oliver gave an indescribably, scarily incredible performance at today's evening show. There was an awe- inspiring, almost freakish intensity to the way he played the role tonight, it was simply amazing to witness. His Angry Dance completely blew me away - it made my hairs stand on end, sent shivers down my spine, made all my muscles tense, and left me nearly forgetting to breathe. There was such beauty and grandeur in its animal-like ferocity conveying the whole gamut of emotions from brokenness, despair and vulnerability to an anger verging on the suicidal. I simply could not believe what I was watching. And that level of heightened intensity and emotion typified in his Angry Dance was sustained throughout the entire performance. No wonder the gentleman sat next to me was swimming in tears from Electricity right up till the very end. The Letter Reprise was sheer magic - Oliver and Sara worked so well together tonight, and the timing between the two of them was just right. The trembling voice, the painful glances, the long drawn-out pause right at the very end as Dead Mum departs and Billy looks on choking back his tears as he sings "love you forever" - it takes a lot to make a hardened veteran like me cry, but I couldn't help myself. Everything seemed to click tonight - I was so glad to have been witness to it. It was a performance that made me forget just how young he is. It was only when I saw him after the show being picked up by his mum his hand in hers literally skipping down Allington street, that you marvel again at the kind of concentration he is capable of. Rock on Oliver and thank you for that simply stunning, emotionally-charged performance.
JJF I saw Ollie earlier this week on Thursday and he blew me away. I left the theatre physically shaking from the adrenaline rush. As for tonight, I cannot find the words. I echo all of JW's comments and then some. I was speechless. I must also add on a personal note how lovely his mum is and what a sweet, polite and gentle young man Oliver is. To think that someone as gentile as him could produce a performance like tonights. Wow wow wow wow. What a perfect end to my four day, six show, mini billython. On the one hand, I can't wait to go back, but on the other, I don't want to be disapointed as I don't think tonight can be topped.
Todd It is really amazing to see the talent of these kids and all that they're capable of doing on stage at that young age. Very few people of any age have the talent do what these kids do in the role of Billy. Then when you add to that the
77 Oliver Taylor in BETM: Dossier fact that they're young enough to still hold their mum's hand and go skipping along, it makes you see what prodigies they really are.
November 10, Saturday matinee
Tony Just wanted to see Olly again before he leaves - and what a great performance he gave! He has toned down his anger to just the right amount - his accent has more confidence - his singing voice is among the best - and his dancing is amazing (with more than a hint of Liam Mower - no bad thing!) Trevor had to announce that Ryan was ill at the start of act two (get well soon Ryan!) and that Jonty would replace him. There was still no "typical" from Posh Dad - and no hand kissing at the end of Grandma's song (shame!) - Alan was back but he didn't say "piss off" to Billy's Dad (which diminished his "merry christmas") - and Alex was missing. The Ballet Girls were fantastic - Ann was wonderful - Kate was the perfect Mrs W - and Tim gave his ever dependable version of Tony. And Leigh's Debbie is brilliant! But for me the pivotal moment came at the end of an outstanding "Electricity" - when Billy very obviously offered his arms out to his Dad for a hug - but got only his coat and bag offered back to him. This produced an audible sigh from the (very responsive ) audience. Others may have done this gesture - but this afternoon's moment was very special. Is this a first? The new Programme features Joshua (albeit with no photograph!) before he has even performed as Billy. Strange. I must mention Olly's singing. His vocal control during the emotional sequences (with Dead Mum) is remarkable. The best since Travis, I would say. And one more thing about the audience - is it me, or are they getting younger? It bodes well for the future of the musical!
November 14, Wednesday evening
JW Sigh. Olly. What more can I say that I haven't already said about this kid, or that he hasn't demonstrated himself? Wellll...quite alot really given that with Olly's Billy there's just so much scope for microscopic analysis! I don't think it's a surprise that I'm a huge fan of Oliver's portrayal of the role given my posts on the subject, and I don't think I can let this particular performance go by without at least some mention. One of my favourite things about Oliver's interpretation is its consistency. By which I mean not that he's consistently good (which he is), but how even amidst all the layers, the very core of his Billy is a constant, and those outer layers can all be traced back to this inner core. There isn't one single scene, where you feel he contradicts himself. This ability to create a multiplicity of textures just demonstrates that Oliver is a true artist. And not only that, the fine balancing act with which he is able to hold all these different aspects to his Billy and keep them true and consistent with the central, defining characterisation of the role tells us that he is an immensely intelligent artist. Just how intelligent and just how much he has thought about the role can be highlighted in a few scenes. The whole action of Billy running away from Dad after Electricity is given new meaning when examined in the context of Billy outstretching his arms with a gentle smile expecting an embrace and receiving a coat and bag instead. Take it one step further, and note too that this particular Billy has been let down just one too many times by the adults in his life - his mother, his father, his dance teacher, his older brother, even his grandfather whom he recently found out was a 'bastard' and you begin to get a glimpse as to exactly why Billy acted the way he did after the end of what should be a triumphant dance routine. This is a Billy that has a hell of a lot of love, but doesn't quite know just how to express it. Hence the smile of immense relief, when Mrs Wilkinson reciprocates his embrace in the scene just prior to the confrontation leading up to Angry Dance - he smiles because for the first time ever, he was able to let someone in, and allow them to know his affection for them. And hence, his look of vulnerability and anger, when his open arms were not recipocrated by Dad immediately after Electricity. And hence, the tentativeness he displays as he wishes his dad goodbye, unsure of whether to hug him or not, before risking getting hurt again and jumping into Dad's arms. Another instance I can think of where Olly shows just how much he has thought about the role is in the scenes at the Royal Ballet School. Although there are some laughs from the audience, Olly doesn't actually play the audition scene with the tape for laughs. Watching it more closely, you can see how genuinely petrified he is, how he feels out of place in this alien environment, nervous enough to want to go back to Easington and give up this singular solace in his dark life. You see how those in the school treat him as less than them - the panel's refusal to use the name he wishes to be called by, the PA practically ignoring him, the sound engineer crinkling his nose up and giving him a look of disgust when handling the tape. Then there is Billy in the centre of it all - alone, away from home, frightened, trying to hide his very obvious frustration. Remember this is a Billy who takes everything intensely personally, and you are left in no doubt he feels patronized by them. So when his audition turns into a disaster, and Thomas the posh
78 Oliver Taylor in BETM: Dossier boy, comes out to comfort him, what, to the audience, are clearly innocent words of encouragement and an extension of friendship, is taken by Billy, precisely because of how he was treated by the audition panel, as something more sinister - of just another person looking down at him, and in that light, his reaction, instead of being seen as an overreaction and a temper tantrum, is now more understandable. Note too, the look of horror he gives right after the violent act. This was a look of shock not because he was caught fighting, but more because he could scarcely believe he was capable of such malice. This was a look verging on the self-loathing, and even in the midst of violence and wrong-doing the audience can understand, and perhaps rationalise just what is going on inside Billy's mind at that precise moment. To me, this is what makes Oliver so very special. He goes beyond entertainment, and elevates what can easily be construed as just an enjoyable evening out, into something worthwhile. He gives the character of Billy, not just meaning, but value. From his TV appearances and his BBC radio interview, it's clear that Oliver himself has an abundance of natural charm. But instead of seeking to abuse that, and turning Billy into Olly, he works the other way round, on stage, conforming himself into Billy, immersing himself totally and completely in the role. The biblical phrase, "He must increase, but I must decrease," certainly holds true for Oliver Taylor with regards to his portrayal of Billy. Olly is an academic. He doesn't ever descend to catering to the lowest common denominator in an effort to win fans, even though surely, his natural charm would certainly have won him many plaudits regardless. Instead, ever the intellectual, he presents his own ideas and thoughts about the character of Billy convincingly, and isn't afraid if there are some in the audience who won't necessarily get it. This is his interpretation and he's going to present it come what may. He picks the high road, going for intellectual and artistic integrity, always admirable in our thirty seconds concentration span, pop culture age. The polar opposite of the populist, Oliver is an elitist, not to mention an elite! And I thoroughly appreciate him for that. A truly special individual, I am going to sorely miss him when he goes. I still can't believe that he's only got a few performances remaining. I miss his Billy even before he's left.
hyun Thank you for the great review, JW. I also like Olly's interpretation a lot. I expected about his ballet before I saw his show - but it was his acting which really surprised me after I saw his show. (Of course, I loved his ballet also! ) I really hope I can see his brilliant Billy again before I leave London next week.
November 17, Saturday matinee
JW OMG! That was a simply spectacular performance. Seriously. I'm left speechless at the sheer amazing-ness of it all. It's hard to say what my favourite moment of today's show was - that was the immensely high standard it had reached - but if push came to shove the highlight for me has got to be the Angry Dance. I know a lot of discussion regarding this particular dance has been taking place on the forum recently, in light of the changes to this dance in Billy Sydney. There are those who suggest that perhaps the changes are a good thing because the dance is simply too difficult to pull off as it is now. I can certainly see their point, and I don't think I'm being disrespectful in saying that some Billys pull this particular dance off better than others. And even those who are masters of the Angry Dance don't necessarily always hit all the emotional buttons at every performance. They'd probably be the first to admit that. It is an astoundingly difficult dance. But would I change it simply because of that? Absolutely not! And this afternoon's performance justified leaving the dance in its current state far better than I ever could. Today's Angry Dance, delivered by Oliver Taylor, was, simply put, that shining, shimmering moment of glory, when everything just came together, climaxed in a truly dramatic fashion, and you are left with the realisation you were witnessing genius in action. It was where everything Billy had been feeling up to that point was encapsulated in that one episode of agony, of frustration, of hurt, grief, vulnerability and sorrow. It was a dance of rage against the sacrifices expected of him, of hopelessness amidst the lovelessness in his life. It was the story of one isolated child sinking in a sea of despair clinging on to life itself by the barest of threads. Where everything he had been bottling up till now simply had to be let go. He couldn't bear it any longer, Billy needed desperately to find an outlet for his emotions and that outlet was the medium of dance. Dance became for him an expression of his anger, and by extension his saviour. Olly entered into the dance so completely. He lived and died every single moment of the dance. Not once, did that intensity fade, from its start with the electric guitar blasting its entrance, Billy gripping and then shaking the railings in his bedroom, gasping for breath until he couldn't bear it any longer, he was simply compelled to dance to that steady beat, that march of agony and desperation, right till the very end of the dance, when Billy in exhaustion faints to the ground screaming out No, his voice fading away leaving the audience shell shocked, while he lies there, his heavy breathing the only indication that he was still alive. For Olly died and was reborn again a hundred times in that one dance. He gave his entire self - mind, body, heart and soul - to the dance and to the audience. He turned a performance from which I couldn't take my eyes off him into one where I had to shut my eyes for a few seconds because the anguish and the intensity were simply too much for me to bear. It was
79 Oliver Taylor in BETM: Dossier only at the very end, as the lights came on and I sat there in my seat, still shaking from the shock of the whole experience, that I realised I had been biting my bottom lip throughout the whole dance, and my nails had been digging deep into my palms such that they were hurting. This was a performance of a lifetime. Call me a sap, but this is the reason I don't want this dance altered. It's got too many memories for me, and Oliver has added generously to that pool of memories, so willingly contributed by the many past masters of this dance. To change it, would mean that the dance performed by Oliver will forever remain just that. A memory. No longer will there be the possibility of it all coming together again for that one glorious moment, where my brain gets riddled with hypoxia from the lack of respiratory effort that I go through in that dance! But for now, I won't contemplate that possibility, and instead I'll happily relive today's experience with immense gratitude to the genius child who made it all happen. Thank you Olly.
Friar wrote: As I've said before - damn, damn, damn I won't get to see Ollly's angry dance and from all that I've read it is quite amazing. Well done Olly. Aww. Are you really never going to get the chance to see Olly? I have a feeling that you might be quite appreciative of him. In addition to the overall contemplative feel of an Oliver performance, there's something of the Franciscan charism of minority about him. In the sense that he casts the more short-term pursuits of say, getting a laugh out of the audience, etc, aside, in favour of a diligence towards an extrapolation the character of Billy himself. Like the good Franciscan, one senses almost a certain detachment about Oliver the performer with regards to status, or in his case, applause, if it comes at the expense of delivering his understanding of Billy. That kind of artistic integrity is exceedingly rare these days.
Alan Roger Yes a very good performance overall from Oliver although I did get reports that he could not be heard clearly (especially in Dress Circle) because he tends to speak very quickly and clips his lines. But then that is his style which must have been approved. After Liam, Oliver is the smoothest and most classical of the Billy dancers and it is very evident why ballet beckons and if he progresses as he is doing at the moment he will clearly be a dancer to note in the future. Stand out performances from Ryan and Leigh which reminded of us very much of what we shall miss after December 1st. I was pleased especially for Ryan as I understand there were professional people in the audience taking particular note of his performance on Saturday. Good to see Harry on top form on Saturday but he is getting very shaggy. I think a hairdresser must beckon soon
irishjoe I too was lucky enough to see this brilliant Saturday matinee. I flew in from Dublin in the morning, and back to Dublin in the evening. Worth every penny I can tell you. Sometimes here on the forum, we can speak in terms of superlatives when reviewing shows... Well, this performance well and truly deserved all the superlatives in the world... I agree 100% with JW... This was my 9th BETM, and, after being guilty of reviewing a couple of shows that I thought were a little flat, this took me right back to the beginning (over a year ago), when I was totally 100% blown away. The sheer emotional breathlessness and the incredible performance from Olly Taylor (where did they find this kid, and why, WHY is he leaving )... He was a brilliant, angry, emotional Billy with a smile that could promote world peace... There was excitement in this crowd... an elderly lady telling her friends this was her 8th show, spontaneous standing ovations in the finale, laughter and gasps... and all along, Oliver beaming when he completed his routines, soaking up all the (well deserved) applause... Oh, the timing with Debbie on "Do you want to see my fan*y?" was the best EVER... it was SOO long, I completely cracked up Some other things... David B was great as Dad (I had never seen him before)... Chris Lennon, just as intense as ever as Tony - from Stalls Row B, his spittle literally sprayed across the stage. I'm always moved by his amazing acting - awesome. I also warmed to Jackie Clune far more than my last show - she is getting REALLY good now! (I've only just started noticing how moving her farewell with Billy is) What else? OK... some recent posts have mentioned the volume... I noticed what seemed like some microphone problems with Olly in the early stages of the show... possibly some words cutting out, and he can tend to be quiet with some words too, but no problem if you're in the stalls I guess. I loved some of the changes I've read about - no nose rubbing with Grandma, changes to Angry Dance with more Tony & more rioting (or was that my imagination?)... changes to some scripted emphasis (Kevin F Keegan)... Of course, can't do this review without mentioning Ryan Longbottom - I haven't seen him so many times, but what a solid performance... such clear vocals too. Now I'm rambling... Angry Dance was just great, great, great... every second of it. Electricity was fluid and masterful - never saw Liam perform, but they say Olly is similar right? More than anything else, I was so, so impressed by Oliver... I find myself so pleased (honoured) that I managed to see him - his dancing, his singing - 80 Oliver Taylor in BETM: Dossier WOW, and sorry to all of you that didn't get to see him. I suppose this was a trial run for 01 December... that will be a "Very F Special" show I can tell you.... my God, I would need a box of tissues I think. So in summary... after recently thinking / feeling that I needed a long break from the show and hitting number #9, I will use the famous movie quote from Michael Corleone (Al Pacino) in The Godfather: Part III "Just when I thought that I was out, they pull me back in."...... Hello to Alan and JJF too (and his multi-layered Billy shirts! ) Bye.
hyun During my staying in London for 3 weeks, I saw BE 9 times. - 3 times Olly/2 times Corey and Sam/1 time Layton and Josh. It was kind of bittersweet experience to see BE again after 1 and half year - it was a big pleasure to meet such wonderful new Billys… I really enjoyed my BE journey again. I cannot forget Corey's smile, Layton's tears, Sam's wildness, Josh's freshness, and Olly's beauty. Well, that was my very brief review. Since I cannot access the forum from Korea due to hosting problem, I cannot say hello to you after I back to Korea this Thursday… (Sorry about my poor English. I hope you understand what I mean. )
November 22, Thursday evening
Dancer This was to be the last time of seeing Olly before his final show and I was really looking forward to it having read all the recent glowing reports about him. I was not disappointed. Olly plays Billy in a rather more stroppy and I would say typically teenage way, than Sam, but does seem to have toned down his rather bolshy and moody portrayal that I have seen in the past. Here are just a few of my more memorable moments from the show. They mostly concern Olly as the show's gremlins seemed intent on giving him a hard time that evening! There was no pasty in Billy's bag to give Grandma! Olly didn't even pretend to give it to her, but Ann still opened her drawer, rummaged around inside and tut-tutted! Shaun covered Olly with Lipstick in Expressing Yourself most of which seemed to remain until the interval! Olly nearly missed his cue and had a last minute dash into the kitchen at the end of Dad and Tony's argument. He got his, "stop it please" lines out just in time! In both shows the Letter scenes were just perfect with both Sam's and Olly's anguish showing through, although neither boy actually cries. I think Erica Ann Deakin is just superb as Dead Mum and perhaps it helps in that she doesn't play the part as often as Sara. I also got the impression that Mrs Wilkinson's singing part has been re-written slightly, her tune sounds different. In the fanny scene with Debbie, Olly took such a long time to respond to her invitation that someone in the Dress Circle called out, "go on, go for it son". Olly couldn't resist a slight smile before hurriedly finishing his response! One thing I hadn't noticed before was that Billy's tap shoes have covers on the soles which Billy pulls off in his bedroom just before his Angry Dance. At the start of Act 2 Trevor again had a problem with someone in the audience. Someone shouted out where's the raffle before Trevor had even got started! So Trevor had to do a bit of ad-libbing which involved the word 'wanker' being used a couple of times but it all came right in the end! The winning ticket number was 392 read out by Olly. The scene with the Glaswegian dancer and Dad was just hilarious. Behind me sitting in stalls row C must have been a school party made up in the main of young teenage boys and they just couldn't stop giggling throughout this scene. From what they were whispering to each other they sounded quite embarrassed! Incidentally in both shows today there were quite a few school parties who I must say were all very well behaved. There were a few wolf whistles from the audience when Michael kisses Billy but this is what we seem to have come to expect recently. In the RBS audition scene when Olly pulled the tape from his pocket it looked like the whole tape had unwound and poor Olly took absolutely ages to wind it in to a silent theatre. Goodness knows what he must have been feeling inside. And then to cap it all he offered the tape to everyone present in the room before Kate Graham as the RBS lady nodded curtly towards the U-turn tape man (same guy as in the afternoon show) who ignored him completely for a few seconds, looking the other way, before finally putting Olly out of his misery by snatching the tape from his hand. The Swan Lake dance was beautifully performed with Tom, Olly so graceful in his movements. He appears to defy gravity but he is only a wisp of a boy. Another really heartfelt moment was at the end of Electricity. Olly approaches his Dad with his arms open and outstretched wanting a hug, but Dad doesn't recognise this and just thrusts his coat and bag at him before Olly rushes off stage, rejected. One final thought I must mention about Olly is what a beautiful singing voice he has. He has no problem reaching the high notes and his voice is so tuneful. And so the finale ended with a standing ovation for Olly bringing to an end my "double" for the day. These two cracking good shows will live long in the memory. 81 Oliver Taylor in BETM: Dossier
Jacob I have seen Olly since June or July and it has been interesting to see him gain in confidence. Most of the Billys feed off each other and I think he has taken some of Travis' moves in the Boxing scene to great advantage. Similarly I think the later Billys have drawn ideas from Olly. This the sign of a fine ensemble approach by the cast to a Show where Prima Donnas are not tolerated. May this continue. Dancer has commented on the fanny scene in this performance. This an area where Olly has added his own dramatic interpretation. His is not a Pinteresque pause followed by audience laughter. In fact he has facial expressions which illustrate the thoughts that are going through Billy's head ie does he want this?, what will Debbie say to her mates (ballet girls) if he declines her offer?, aren't boys supposed to say yes to the offer? He starts to reply, but then stops before the words come out. Billy is a 12 year old boy with issues about his sexuality and this underlies the scene. Olly does not play it as a cameo for audience laughter. The audience understands this aspect, particularly the teenagers. His facial expressions are most clearly seen in the left side of the front Stalls. In the event on Thursday evening the heckle from the audience was unfortunate. I hope this will not become a feature in the Show. BETM is not vaudeville. The other area that Olly has contributed lies in the final scenes. There is a sequence of goodbyes...... to Grandma, to his Dance teacher, to Tony , to Dad, to Mum and finally to Michael. He plays these in an exquisite way with increasing emotional intensity. The goodbyes are in an ascending order of pain both for him and for the audience. The goodbye to Michael is the most painful of all. Olly did not cry in this performance but Shaun did. He may never perform with Olly again. Some people cry when they are upset but others display emotions in more subtle ways. Olly was upset but this was only noticeable from the very front Stalls. The school in the Row behind me were about Year 9 I think. They were so well behaved. The boy I spoke to told me that they were from St Michael's Chester and how much he had enjoyed the Show. I cannot add anything to what has already been posted in other reviews in respect of his balletic dancing and his singing. He is not a gymnast, he is a Dancer. It is a pity that the choreography did not allow him to use his balletic moves more. No leaps, no elevation. Unfortunately the VP stage area is too small for many of these movements. He will have left his mark on the Show.
Johnnyc irishjoe wrote:
lin wrote:
Malcolm wrote:
johnnyc wrote: (Strange. Another "Angry Billy" turned me off. I thought he was a brat who needed a good thrashing. I do hope that young man causes me to change my opinion of his Billy during his two shows later this week.)
Gosh, that sounds pretty harsh, doesn't it?
And somewhat unnecessary I would think. Lin
I spend all week getting bashed up at school.... I don't want to spend my saturdays getting bashed up here too no more thrashings required.... me thinks I was not referring to the actor. Ollie is a fantastic talent. I was greatly impressed by his dancing and acting skills. Sorry, I just did not care for the Billy he projected TO ME, NOT TO SOMEONE ELSE, the one time I saw him on stage. Now, I might be more receptive to the way he plays the role and buy into his interpretation. Who knows, I may just have had a bad night when I saw him. Perhaps any other actor would have "turned me off" as well that particular night. I do apologize for writing without giving sufficient thought to how what I said might come across to others.
Irishboi Everytime I read something that JW writes about Olly it makes me want to see him again. Unfortunately I cant make it over before he leaves but boy am I tempted to try. He was the first Billy I saw, and even though I was sitting
82 Oliver Taylor in BETM: Dossier in the middle of the Grand Circle I could tell that he was something special. Eventhough I was completely captivated by the whole show which at this stage was completly new to me, it was Olly that my eyes kept returning to. I have only one regret about my whole BETM experience. Not the amount of money it has cost me to fly over to see it so often. Not that I didnt discover the wonders of the show earlier. Its that I only got to see Olly perform once.
JW One of the reasons why it bears watching any Billy more than once, is that continually I find myself surprised and forced to reexamine aspects of their portrayal. I find this especially true of Oliver. Even after many repeated viewings, on my latest one which was just this last Thursday evening, I saw things which I hadn't seen before. Part of it, I'm sure is just the sheer texture and depth with which he portrays the role such that it's essentially impossible to capture it fully with just a few viewings, but there's definitely a sense that even as he nears the end of his run, Oliver, ever the perfectionist, is still crafting away, buffering, polishing and re-touching his portrayal. Not all of it may be a conscious decision on his part, but he's immersed himself so completely into the role, that when he's onstage he is Billy. Just last Thursday, I saw something in the Goodbye to Mrs Wilkinson scene that caused me to look at it again with fresh eyes. At the very conclusion of the scene, as Billy whispers his best wishes to Mrs Wilkinson, and his hand touches her arm, he's actually smiling. Now, at first glance, that smile might seem odd, especially for Olly's very tortured Billy. Why would he be smiling in this scene? Would it not be more natural for this more mature Billy to be acutely aware of what exactly is happening? And the touch? Would it not be more in keeping with Oliver's more introverted Billy to be slightly less open? And then you remember another point in the show where he smiles at Mrs Wilkinson - just after Born to Boogie and before Angry Dance as he engulfs her in his embrace. The initial tentativeness with which Billy looks at Mrs Wilkinson then gives way to a smile of joy and relief as his display of affection is reciprocated. Such is his pleasure that he smiles throughout as he delivers the line - Don't worry Miss. I'll put me alarm on. Billy, the tortured artist, the weary soul, the kid who's been affected so badly by the loss of his mother that he's simply forgotten how to build relationships, for the first time managed to break through his very guarded surface, allowed himself to be loved, and has reached out and demonstrated love and affection for someone else. That smile was both a signal of his delight at being able to do so, and his relief that this gesture was reciprocated. And so we come to that smile in the Goodbye Scene. Here the roles are reversed. It's Mrs Wilkinson this time who's the guarded one. He's got a future, an escape from his gloomy circumstance and he's found something that elevates him from the dreary earth and brings him into contact with the transcendent. With her sometimes short responses in that scene, Billy is frustrated that his hopes for a relationship with her are slowly fading. He doesn't want to leave like this. And so he tries one final time to repair the relationship. He remembers what happened the last time he showed physical affection, and he's confident that this further gesture of affection on his part to Mrs Wilkinson would be reciprocated. And so, as he wishes her well, he touches her and smiles. It's a smile of hope for surely Mrs Wilkinson, would return the maternal affection he craves. Instead, as we see that touch and those words are too much for her to bear, and she turns away from him, lest he see her sobbing. And he's left standing there. Like the expectant open arms gesture he gives Dad at the end of his triumphant Electricity, waiting for Dad to demonstrate his love in a physical way, this gesture to Mrs Wilkinson too is left unresponded, and Billy's smile turns to a look of despair. His head falls, his posture drops. With Oliver, Billy's sorrow isn't just the result of the ending of his relationship with Mrs Wilkinson. His sadness also stems from the way it ended - with him being rebuffed by someone he loves yet again. Watching it from that perspective, your heart can't help but ache for him. No wonder this kid has got such issues! I've said before that with Oliver's portrayal the viewer is left in some doubt as to whether Billy will every truly find happiness and joy in the end. For him, you're left wondering whether Mrs Wilkinson's reponses to Billy in the Goodbye Scene with the intention of pushing him away and making sure he makes the most out of this new opportunity, is truly the most appropriate response at that moment given that to Billy this seems as if once again he was being rebuffed. I think Oliver's own handling of the Goodbye Scene when examined in the context of his earlier scenes with Mrs Wilkinson, does give some justification to that impression. And the best thing of all is, it's taken me this many Olly shows to actually find some concrete evidence for my initial impression of that particular sequence of events! I think it's beyond obvious that Oliver the performer sets incredibly high standards for himself. And I'm slowly coming round to the understanding that he sets those standards for his audience as well. He respects his audience enough to be giving us this very multifaceted portrayal, bring us on a meditative journey, and expects us to follow the logical links he makes throughout the show. Oliver doesn't just demand observation and concentration from his audience. He demands something more acute and more profound - he demands perception.
ErinVA What link does Olly establish, though, that explains why Billy has avoided coming to tell Mrs. W. his good news until his dad insisted that he go to see her? It's clear that the reason she is hurt is that he didn't come before, and this makes it difficult for her to shift gears and be receptive to his overture. I did not see Olly's Billy enough on my last trip to think this through in depth with specific regard to his Billy, so my comment is really predicated on my
83 Oliver Taylor in BETM: Dossier reading of the scene in a general sense. Billy deserves her reactions because he hurt her feelings when he did not have to. He could have gone to see her much earlier when he first received the letter. The breach in the relationship that he seeks to repair is actually his own fault, when you think about it.
JW I don't think Olly's Billy necessarily gives a reason specific to his portrayal as to why he has waited to come to see Mrs Wilkinson because..well..the script doesn't give one. I think, speaking in a general sense about Billy, not specific to Olly's Billy, the last words Mrs Wilkinson speaks to him - that he hasn't got a hope in hell, which sparks of the chain of events leading to Angry Dance, I think that probably counted for something with him. Apart from that, the thing is I always got the sense that Billy did want to come and see her to tell her the news. And the "my dad thought you should know" was merely a 12 year old boy's excuse for the more deeper reason behind his visit. I don't think Billy, even an older portrayal of Billy such as Olly's is necessarily aware enough to understand the implications of such a statement to Mrs W. Similarly with regard to the breach in the relationship - I'm not quite sure there was an actual breach, or that this was an artificial one manufactured by Mrs Wilkinson, in the hopes of pushing him away and getting him to focus on the future. Her words, "Piss off out of here. Don't look back.." would seem to speak more towards the latter. And dragging this discussion back to Oliver's portrayal, here is where I find the sadness lies. In that, while this may be a perfectly reasonable approach to adopt, I think especially with the way Olly plays Billy, that's just not what Billy - the kid who can't seem to build relationship - needed at that moment.
ErinVA You make a very good point, Justin. The mother has to push the baby bird out of the nest, so to speak, if it is to mature and survive on its own, but it would make her sad to do this. And poor Billy wouldn't really understand that at this stage would he, especially if he is, as you see in Olly's Billy, a kid who can't seem to build a relationship.
Friar JW whilst I agree with most of what you have said I don’t buy your view of Olly’s angry dance it doesn’t work for me. However, short of him or any of the others telling us what they think/feel at certain parts of the show we are stuck with our own interpretations which is probably why we sometimes disagree about who’s interpretation of BE touches us. So here goes. For me the story of BE (both film and musical) is about two sides of the same coin which is spinning but on the brink of landing one way or the other. Whilst I know the outcome the story grips me every time because it’s so believable. The two sides, I think, are these: rejection and conformity vs. acceptance and freedom. Rejection and conformity Billy feels rejected by his mother despite how much he loves her she’s left him. By his brother (shown better in the film where they share a room) who mostly doesn’t notice him or sees him as an inconvenience. By his father who has become distant and self absorbed since the death of his wife. By his circumstances where he sees the break up of his family and community through the strike. How he’s losing his Gran through her memory loss. How he has to conform to the expectations of a one employment community and the male view of male dancers. We see this in angry bit after his Dad hits his brother, in the kitchen scene with Mrs W, in the angry dance and in his expression of a ‘self fulfilling prophecy’ post audition – “It was a waste of time” I’m going to be rejected. He’s a lonely boy in a crowd of people who’s angry with world he finds himself in. Acceptance and freedom How he feels when he dances in both the dream sequence and electricity and also in Boogie. The encouragement he gets from Mrs W – someone who believes in and notices him. His fathers and the community’s acceptance after the gym dance. His brother’s reconnection with him. Michael’s ability to let his friend go. The opportunity he gets to fulfil his dreams which he has discovered by accident – what would have happened if George had not made him stay behind. Each actor has to, I believe, convey this and some do better at one or the other or parts of one or the other and that’s fine as we shouldn’t expect something “fully formed that has leapt from the brow of Zeus”(!!!!) neither from the young or adult cast that is. Why I like BE is that it gives me hope and why I find it depressing is that I don’t always feel that acceptance and freedom. I could be wrong of course
bobbyswfla It is astomishing that a talented young lad could provoke such insights from some knowledgable theatre-goers. I feel very betrayed that Oliver decided to deprive me of witnessing his skills in dancing, singing and acting. I want you all to completely "overdo it" in comments and reviews.
84 Oliver Taylor in BETM: Dossier JJF JW has put into words, what I have so far not been able to express. I have to say that there are aspects of each of the current Billies I love. However, Ollie's portrayal is very special. Indeed, he is the only Billy to bring tears to my eyes (and that's not even just at either letter scene). Having had the opportunity to meet Ollie and chat with him a couple of times, I realise that his portrayal is special because he is special. He is an amazing dancer, a really talented actor, a great singer and most of all, a very remarkable young man. And yes, JW is right, Ollie always manages to outshine and outperform the older Billies. How special is he? Special enough for me travel down to see him perform last Thursday despite the fact that I spent all of the previous day in hospital with a torn calf muscle and am relying on crutches to get about. If Ollie (or his sister) are reading this, I would like to say the following: Ollie, I am really going to miss you, not just for your performances, but because you are the most charming, sincere and modest young man I have ever met. It is truly a privilege to have seen you perform and an honour to have met you. You are a really special person. Billy Elliot has always been special to me as I can relate to the themes of loss etc on a personal level, but Ollie really made it something else. And to the person who said they saw Ollie once and didn't like his performance, I can understand that. The first time I saw Ollie, was a good show, but nothing special. The second time, I left the theatre physically shaking with emotion. The third time I was speechless. Every time since has been special. Ollie may not have been my first Billy, but he will always be my Billy.
November 29, Thursday matinee
JJF Ollie was absolutely amazing in the show today. The best part is, I got loads of sympathy from him and the other lads about my leg (see earlier in the thread) as well as from other cast members. It's amazing what crutches can do! I'm not sure whether the highlight was Ollie, Layton and Ryan questioning me about it and giving me loads of attention at the Billy Bus or between shows when on his way out, Layton stopped to ask what I had done. As he had Josh with him, I said I had tried to copy Josh's summersaults but it had gone wrong. The look on Josh and Layton's faces was worth it. I did tell them I was joking and what really happened. Later, when when I was outside the Stage Door pub having a drink with another forum member, the boys came back for the evening show and Ollie shouted over from the other side of the road as loud as possible "Are you alright - what happened". Actually, the highlight was when I told Ollie that I left the hospital last week and came down to see him perform as I already had my ticket and wasn't going to miss the opportunity to see him perform. He asked if I was serious. When I told him I was, the look on his face was priceless. BETM may be a panacea for most ills, but getting some sympathetic words from Ollie is an even better medicine. Who needs painkillers!!!
Johnnyc Not a review, but since I started something in this thread I think this is the proper place to report that I have now seen Ollie for the second time. Gone is the Billy I didn't like. By the interval I decided that this Billy is allright. By the time the show ended, I felt that I shall honestly miss Ollie after tomorrow. So there, I have recanted my heresy.
JW Before Olly does his final performance there's just one more thing I wanted to say about his Angry Dance. I've always found his Angry Dance especially unique in terms of the kind of emotion he tries to convey as opposed to the conventional modus operandi of the dance developed by past masters but I've never been able to pin point exactly what it was about it that was so very distinctive. Yesterday it struck me, nay it hit me slap bang in the chest and knocked the wind out of me. Olly's Billy isn't angry at the world or at the circumstances he finds himself in. His anger is directed towards himself and at his reactions to things. You don't get the sense of him kicking the riot shields in order to attack them. There isn't the venom and malice emanating from him. Instead it's almost as if Billy wants to be injured. He wants the police to come and kick him and beat him to the ground. There's an intense self-loathing about the dance. Yes, he hates the circumstances he finds himself in, he's devastated at the response of his family and those whom he loves, but most of all, he hates himself. He hates himself for caring, he hates that he doesn't know how to show he cares, and you even get the sense that he hates that he wants to dance in the first place. The internal anguish he goes through is so great that he desires to be flung around literally in order for this internal pain to be manifested in a physical manner. It really struck a chord with me yesterday. It's incredibly thrilling to watch, but at the same time it's seriously frightening and quite, quite disconcerting. In many respects, watching Billy with this suicidal streak is more
85 Oliver Taylor in BETM: Dossier uncomfortable than watching Billy wanting to hurt the police line-up. Every good Angry Dance is an interweaving, a balancing act of these two interpretations, but I think Olly's definitely hangs more on the former.
Remi
86 Oliver Taylor in BETM: Dossier Towards the Last Night
Elsa Hi everyone this is Emily, Olly's sister. If you don't already know, his last show is on 1st December (evening). He wants to thank everyone for the support and kind comments throughout his time at Billy and no doubt he will tell you himself when he gets time. It has been a short but fantastic experience but he has to get back to school!
tessmagnolia Seriously? Now that's upsetting. I love Olly's portrayal of Billy - every time I saw him he just got better and better. Good luck with school and your future projects. You will be missed.
Hammy Aww that's a shame i thought i might get to see him. Anyway i wish him all the best for the future.
JW I was sort of expecting this but this doesn't stop me from being completely devastated!
sillybilly ah thats a shame i would have loved to see him, ive read some amazing reviews. i hope youve had an amazing time in the show, we all appreciate your hard work and wish you all the best in the future!
sfo that is real bad news. Ive seen Oliver twice as Billy Elliot and on both occasions he was an exceptinal Billy. Good luck for the future Oliver. Enjoy the remainder of your shows. Best luck for the future
Nicola awww that is really really sad to hear! hope he will have loads of fun in his final weeks at billy tho!
Mad About Billy I thought a Billy might leave, but i am shocked I cant wait for his final show now, but it is very sad he is leaving
ErinVA Oh dear! I am so sad to hear that we are losing Olly! He is such a wonderful Billy, and I am so grateful that I got to see him twice during my recent visit and thank him for his performance at the stage door. Well done, Olly! I wish you all the best in your academic and artistic pursuits. You are definitely a star!
jabka That is really sad news! I love Ollys portrayal of Billy,I believe he is a young man with remarkable talent and a huge future ahead of him. I have been lucky enough to see him twice - I hope to see a couple more shows before he leaves. Thank you Olly for giving us the gift of your Billy. Enjoy the rest of your time here, lots of love and luck for your future. I hope you have enjoyed the experience as much as we have!
JJF
I am absolutely gutted to hear that Ollie is leaving. After his performances this week, I can't get enough of this guy. All I can say to Ollie is that he is a remarkable young man with amazing talent. I feel privileged and honoured to have seen his performances and wish him happiness and good health for the future. He is a really special young man and an unbelievable dancer.
Dancer Thanks, Emily, for letting us know. So that was what your criptic message was about on 8th October . I'm glad I bought my 1st December ticket ages ago. Sitting in row A of the Dress Circle will be the perfect place to see
87 Oliver Taylor in BETM: Dossier for one last time Olly's incredible ballet skills. I know you've only been Billy for six months, Olly, but good luck back at school and in whatever you decide to do in the future.
TM Really sad to hear Olly will leave so soon on December 1st. I had the pleasure to seeing his first 3 shows. Reading all those laudatory reviews, I became more and more ambitious to seeing him again on my next London visit. So next time I evidently will be seeing his last (3?) shows. All the best and good luck for your future, Olly!
patc Olly leaving on 1st Dec? My bones have just frozen solid with the shock! Thank goodness he has been almost a regular on Thursday Matinees and again is slotted in for this coming Thursday. What a Billy. Olly and Ryan together for the last time on 1st December. That parting moment at the end curtain will be unbearable
*cazzy-lou* Omg i can't beleive this A short but absolutley fantastic run I will have been lucky enough to witness your portrayal 4 times after December 1st I'm now actually really glad the last 4 times i have seen the show 3 of them have been you, i will never forget those shows Enjoy your remaining shows Olly & best of luck to you in the future "In everything you do always be yourself"
jade-x noo i now feel really lucky that i saw him once! i thought you were amazing!
Malcolm I have only just come in from having had lunch with friends and I must say I am really shocked to hear of Oliver's departure. Luckily I have seen him a good number of times with hopefully another on Thursday. It did occur to me when I last saw him how tall he has grown but I certainly didn't expect him to go this soon. Anyway good luck for the future Oliver - you are a real star with bags and bags of brilliant possibilities ahead for you I am sure. And thank you for giving us so much wonderful and heart warming entertainment over the past short six months.
AmiB How sad. I've never seen Ollie perform and I am not allowed to go on Dec 1st because my dad is being horrible. Sorry I missed it.
Anika Thanks Elsa for letting people know. OH NOOOOO I do NOT want him to go !!! I loved his way to act Billy I will miss him sooooo much But I am sooo happy to see his last show !
jen Looks like there might be an overnight queue then could be very cold.
Ilovetravis I KNEW i should have got a ticket for dec 1st but i didn't, god im stupid, i love olly, he portrays billy so well and out of all the billies I thought he was least likely to leave. Looks like night queue for me now!!! Anyway, well done olly you were amazing, best of luck with all your school work, i guess you have made a sensible desision. I really hope i get to see your last night
Alan Roger
88 Oliver Taylor in BETM: Dossier The news does not surprise me. Olly is very focussed and his prioriities are academic and ballet. If you read the excerpt from the local Devon paper a contract for six months was all that was expected. Oliver is a very intelligent young man who I have no doubt will do very well academically and with his dancing. Billy was a stepping stone to greater things and he has done very well in his brief run.
wert I think one of the (many) things Olly should be proud of is how he made his Billy slightly different which created so much discussion on here at first. I thoroughly enjoyed watching him play Billy and am looking forward, with a tinge of sadness, to seeing him again on December 1st.
Irishboi Noooooo! I really want to see Olly again. As I mentioned elsewhere he was my first Billy and the reason I have become so adicted. I am returning to London for a couple of days next week. I hope I am able to catch him. He truely is a very special performer and BETM are lucky to have him. Big things will happen for that boy in the future.
Photofreak I'm sure he will have a nice time to look back on. He seems to be sure about the path he wants to go. I liked his performance, grace in his dance and his portrayal of Billy. He deserves a warm last night. he dances with style, dedication and very elegantly. It looks as if he was born to dance. I am sure he will perform in the future and I would love to be at least at one of them (maybe in about 4-10 years). Hopefully he will get another tv performance - or is that just selfish? But he also has e very good voice, so who knows where he will go in the future, my feeling is: ballet, but it is his choice and he will do what he feels is best for him. Oliver must follow his heart and sense. He actually is the last of the performing Billys I have seen on stage. So there will actually be a time when I haven't seen any of the performing Billys and that is so weird, can you imagine?
oliverfanno1 Saw Ollie on 12th September, a Wednesday evening, and I have to say he was unbelievable. Breathtaking performance from someone so young, unfortunately this is the only performance I have seen of the show but I now hope to see more as it is the most amazing show I have ever seen. I was gutted to hear that Ollie is leaving on the 1st December, I feel that seems very soon for such a talented young lad, but I am sure he will go on to bigger and better things, I'm sure he will be missed by all. I know for one that I will never forget his performance for the rest of my life. Good luck with everything lad
hughdley With Olly Taylor's departure I feel as an avid fan and supporter of BETM what I imagine that Everton fans and supporters must have felt when the brilliant, young Wayne Rooney left them at an early stage. Like when the old greats such as David Beckham move on and who largely through their own efforts have seen their clubs achieve the highest success they are relinquished sadly by their fans but saluted for all that they have given and have their praises sung to the highest degree on their departure. So at the beginning of the year with such a great foursome in the Billy squad with Leon, Travis, Collin and Dean I was bracing myself to do just that as I reckoned that we'd probably lose the first three during the course of the year which turned out to be the case and then I also had to resign myself to mourn the premature departure of Dean through injury. One's inevitable sadness at these departures is then relieved by the realisation that new stars arise and take their places and sure enough halfway through the year there arrived a brilliant and exciting young prospect in the shape of Olly Taylor whose sheer artistry and brilliance on the field of play became a joy to behold. So after the inevitable losses earlier in the year it came as a final hammer blow to this old stalwart fan to find that before the year is even out we are actually also to lose whilst right at the top of his game this highly talented young superstar. Ouch!!!
Irishboi To use another analogy.....There are lots of stars in the sky, many of them shine bright. But they have been there so long that we soon get used to their awesome wonderness and dont even notice they're there. Olly is more like a shooting star, he only passed by very briefly but made everyone who seen him take notice. And for those of us lucky enough to have witnessed his bright light he has left a memory that will last long after the other starts have burned out. Thanks for giving us all something to believe in.
jen
89 Oliver Taylor in BETM: Dossier There will probably be quite difficult decisions soon for Olly Ballet/school studies as I believe he is at an Grammar school. The school might have other ideas for him.
bobbyswfla I get the impression that this extremely talented dancer, actor, singer is very goal-oriented and steadfast in how he want to progress. At his age, my dilemma was what tree to climb. What an amazing young man.
Brian/shadowchaser
90 Oliver Taylor in BETM: Dossier The Last Night
December 1, Saturday evening
eponinechen Well, before the show...I saw so many past cast! Liam, James, Brad, Leon, Haydn..etc and also the current cast Layton, Jonty...etc Stephen Daldry gave a opening speech. He told the audience that some cast r leaving the show tonight, and especially Ryan...he has performed 400 shows!!!! During the pasty scene, olly toppled the milk bottle and it dropped on the floor~Otherwise, everything went very smooth and perfect! At the end of expressing yourself, olly juz ride on to Ryan~ same as travis' last night! In the swan lake scene, i thought the older billy should be issac, because today is his last performance, but i realised it wasnt him! it was dominic! I thought issac probably got injury or something, so he couldnt dance! But he did appear in the "safety curtain" scene! Anyway, the electricity was absolutely brilliant! Olly did it very very well, and i could feel he must be very proud of himself! The audience juz stood up and applauded!! However, in the farewell scene to mrs wilkinson, leigh gave olly a big hug with a kiss~and I thought olly was crying! cuz i could hear he is sobing from his mic~ and also the last letter scene, olly couldnt even sing and say a word, he juz kept crying and crying~ i felt so touching and kinda heartache about it, because he looked so sad! The dead mum kept holding his hands and trying to make him calm, but i know olly couldnt help it, as he was going to leave and say good bye to the show~ and at the end, when billy said good bye to michael! Olly said "bye ryan!" and ryan replied "bye olly"! How touching!!!!!!!!!!!!!!well....during the finale! as i mentioned, issac didnt dance, he juz walk out and bowed! There was no speech @ the end! wht a pity:(
Mad About Billy Too tired to write a long review now, but to add to the milk, james spilt quite a few beans on the floor when putting them in the pan, so it was quite a messy stage. It was an amazing show, great to see isaac after he had already told us he wouldnt be on. Everyone pulled together, the musicians were fantastic, no sound problems, and the acting superb as you would expect. Big Davey did carry Small boy off, but just picked him up straight in front of him, and with small boy still in front, walked off. The letter reprise was by far the most emotional ever and it was so sad seeing him cry. The 'Bye Olly, Bye Ryan' was heart rendering, and very sad, its a shame they had to leave, but the fans were out in pleanty to say goodbye. Great to meet some people before the show, and great to finally meet brad after the show . It was good to see so many former cast there, just slightly annoying that Layton and Jonty were right behind me screaming in my ear all night. Most of the cast other that Brad, Liam and Leon all seemed to be situated in the dress circle. All in all a brilliant night, emotional, but amazing, thanks to all envolved for making it such a good show, and thanks to all the cast that left for their contributions to the show we know and love.
Gee Hi all, this is not a review as such but just a comment on last nights show, and what a show it was, i have seen a few farewell shows but none as heartbreaking and emotional as this one, the whole show went well, and Olly got through it very well with a fantastic performance, but by the time the miners went down in the lift it was clear that Olly was crying and when he tried to preform the letter reprise he just could not get a word out, it was very emotional but he carried on like a true star, i felt so sorry for him standing up there crying and trying his best, i know it gave everybody around me tears, and then the goodbye to Billy and Michael scene when they used there real names, in which Ryan was also on his bike crying as he said yer see ya Olly, so sad, as already mentioned there were no speeches at the end, and i am assuming that this was done because the child cast were clearly very upset because i am sure that some kind of speech had been arranged with all the stars leaving, so if it was cancelled because the children were upset, then i think that it was the most appropriate thing to do was to bring the show to an end after the finale, agin that is only what i assume, a great show very upsetting for all, and will miss Olly Ryan issac and Leigh, but wish them all the very best for the future, good luck to you all. Graham
Chris We had expected this show to be an emotional one and it did not disappoint. There was a whole plethora of Billies in the theatre to ensure that the last original child star had a big send off; Leon, Liam and Travis were all in the stalls, with the current cast in the dress circle. Hadyn Gwynne was spotted, along with Lee Proud, in the soundbox. I have to say that, at times, I felt Olly's departure was a little overshadowed by that of Ryan; given the suggestions that Olly may well help out for a while until Trent starts, it might have been fairer for him to have his own final night. To me, the first surprise of the evening was the appearance of Stephen Daldry on stage to give the
91 Oliver Taylor in BETM: Dossier speech - he thanked the members of the ensemble who were leaving, Rob, Paddy and Dominic, each of whom joined in December last year, mentioned Leigh, thanked Olly and then spoke very warmly of Ryan, harking back to his audition at the age of 9 in 2003. He also spoke of Isaac's importance in developing the Dream Ballet. Then the lights dimmed and a small boy - a dark haired one - clambered up onto the stage to watch the video. The ensemble, which included Isaac, were on sparkling form tonight. Rob Browning went around the stage selling "Socialist Worker" in "The Stars Look Down"; Ryan got a massive round of applause as soon as he cycled on. I'd not seen Olly since his opening night; I was struck by how much he's grown in the last six month. This was also a very different, much more confident performance. His acting has developed considerably during his all-too-short time with the show. I was impressed by his singing in June, and nothing that happened last night changed that. In some ways it is better for a Billy to leave whilst they still fit the part, but it also makes it all the more poignant - with James, Liam and Leon they had reached the end of lifespan as Billy, so their leaving was a rite of passage, but Matt and Olly, for example, have both left in their prime. The breakfast scene was a bit of a disaster with James dropping beans on the floor and then Olly spilling the milk everywhere. The look that Ann Emery gave was absoluteley priceless. In the boxing scene, Billy hammed up his pre-bout dance to excess and the audience loved it. Shine was fantastic - Leigh Laurie's pouty Debbie was making the most of her last moments in the role. And Jackie Clune has turned into an exceptional Mrs. Wilkinson. OK, so her dancing isn't that great, but her characterisation is fantastic. Hard as nails when she wants to be, but with a real warmth underneath. Ann was, as ever, in great form. There really seemed to be a sense of melancholy in Grandma's song tonight, Grandma seemed really unhappy about something; but then there was a great sense of fun as she got to the end. A perfectly judged performance. Expressing Yourself was always going to be the emotional heart of the show. Ryan was a bit more over the top than normal, but he didn't take it to the extremes of some of the departing Michaels. Olly's face was not, for example, plastered in lipstick, it was just applied discretely. He did however, change the "Care to dance" line to "Would you like the last dance?", the song was delivered with a sense of energy and fun which the audience loved. Ryan won the shoe race by a country mile. I didn't catch Ryan's joke, but Olly fell back on the well-used Snowballs one. At the end of the song, Olly jumped on Ryan's back and there was the now traditional "Express" ending. As Ryan took his bow, the audience - led by the large number of Billies in the house - jumped to their feet. If there was a highlight of Act 1 is was, to me, The Letter, Olly managed to keep his composure well during the song and performed it beautifully. He then has a whale of a time with Jackie and Alex during "Born To Boogie" - when Alex pointed to his bum and told Billy to kiss this, Olly replied "It's f****ing big enough". The toilet scene was delightful. Leigh delivers her lines so well and the "F****y" line, and Ollie's response, was perfectly timed. Jackie dominated the Confrontation and then Olly gave everything he had to the Angry Dance. In Act 2, Trevor was his usual cheeky self during the Chrismas Scene, James Gaddas as Dad seemed a little flat tonight. I've certainly heard better renditions of "Deep Into The Ground" from him; then there was the scene that both of the boys must have been dreading - the winter scene. Ryan seems much happier not to have to shout the Kevin Keagan line through the mike. The scene was delivered very sensitively - Ryan great strength has always been the way he is able to slightly underplay Michael, so that you feel sorry for him. Tom L covered the role of Older Billy tonight, I wonder if some of the audience were a bit confused by this given Stephen's glowing comments about Isaac - (reminded me of a situation this time last year when Stephen had spoken very gushingly about Gillian Kirkpatrick's portrayal of Mrs Wilkinson, and one of the usherettes had misinterpreted the comments to think that Sally was leaving). Anyway, Tom was very gentle and supportive of Olly during the dance, they worked well together to produce an excellent piece of theatre. Chris was really aggressive during the "He Could Be A Star" scene. During the audition scene, Tom L again played the ballet dancer approaching the end of his rehearsal, but the dancer had been transformed into Isaac in time for the curtain scene with dad. Isaac left the stage to very generous applause. Olly really seemed to whack the tall boy (blond, glasses) into the curtain, before the interview. He delivered Electricity very well, keeping his composure throughout. His singing is tuneful and his diction good and, personally, I prefer the ballet-style dance and musical arrangement. When the letter arrived, James and Chris were a bit slow in getting on stage causing a piercing whistle from Ann to attract their attention. By the Goodbye scene, Olly's emotions were beginning to get the better of him. As Debbie made her final exit, Leigh strode over to Olly and gave him a big hug. As Jackie told Olly he was "very f***ing special", Olly began to cry. He had to wipe away the tears before "Deep Into The Ground". Getting through the reprise of The Letter was clearly an ordeal for Olly. He managed the first couple of lines before he was crying so much that he could barely deliver the song. I think Sara Poyzer as Dead Mum, deserves a special mention for the sympathetic and generous way she supported Olly through this. It was clearly very hard for him. She delivered her final "No, I don't think so, do you?" ever so gently, before walking backward slowly to leave a very tearful Olly to leave the stage with his case. The final scene was one of the most emotional moment I've ever seen. The gently placed kiss, with Olly turning round to leave the stage. "See you, Ryan", said Olly, and Ryan replied, "Yeah, see you Olly". There can't have been a dry eye in the house as the curtain descended ever so slowly.
92 Oliver Taylor in BETM: Dossier I'm pleased to report that Olly had regained his composure for the curtain call and led the dancing with vigour. Special shout out to Tom L who didn't take the bow for Older Billy, leaving Isaac to get this last moment of glory. No closing speeches at the end, but somehow that seemed fitting. There will, I am sure, be more emotional last nights at this amazing show, but it will be hard to find anything that will top last night.
NIKKIE-NIKKIE Brillant review "Chris", I can only second everything that everyone has stated already. My first farewell show and as sad as it will be to go to these I will go again. With regard to the above quote, I was keeping it together until this point then I stifled a small sob and dropped camera, so went in mad panic grabbing the guys leg next to me to retrieve for Finale, unfortunately I only got one photo, but have been promised some. I would also like to add how gracious all the previous cast members were allowing us to take photo's they were called right, left and centre and never once did I see a look of "Oh not again". When I asked for one picture (the superb) Stephen Daldry said hold on we will get Ryan in the picture as well. (I will get these pics uploaded) Fantastic night and great to meet even more forum members.
Steamboy I'll try to bypass anything that's been mentioned above, and merely add to the comments. Daldry's introduction mentioned that Ryan, aged nine, had a 'voice like Ethel Merman', and came from the same audition session in which they found Liam, and that Leigh was the fourth ever Debbie. Raefn as Small Boy got the first of many extra rounds of applause as he mounted the railings, followed not long after by a standing ovation as Ryan cycled only stage. Additional applause came for Isaac after the Curtain Scene, midway through EY, and a few other spots. Olly turned in a wonderful performance, keeping his head in the game up through 'Once were Kings'. His Billy reminded me of a quote from Janis Joplin about discovering that she could sing... 'I just crawled up on stage one night, opened my mouth, and this great big thing roared out of my throat.' If one was to classify Olly's Billy, it would be Surprised Billy, or perhaps better, Joyous Billy. After being bashed about in school, bashed about in boxing, and bashed about by ballet girls, he gets bashed by the Muse, and (from Row D, at least) one sees the fire light in his eyes, and from then on he is a Man With A Mission. The Toilet Scene with Debbie was one of the better versions I've seen - usually, I dread the ever-popular Long Pause, as it's not always backed up with body language, but this show I was able to see some visible thoughts crossing Olly's face before he turned her down. I've always preferred the ballet Billys to the street Billys, if for no other reason than the fact that the script is about a boy discovering ballet, not modern dance. Olly gave a wonderful ballet Electricity - about half the moves I recognized from videos of Liam's choreography - ending with the classic endless pirouette down center. The 'I'd like a hug'/'Here's your suitcase and coat' bit with Dad at the end was played to a tee as well. I'd write more of a review, but there were so many people to see and chat with during the interval and after the show, that my note-taking was somewhat lacking…
JW Where do I begin? I suppose I should start by mentioning that this is one show I had been dreading for weeks. I generally find Last Nights difficult enough for me to handle as it is, but I knew that this particular one would prove even more so. My prediction was not proved wrong. Losing any of the cast is hard. But losing Olly? I'm still not quite sure how I'll handle it when he really does leave for good - since it's been mentioned here I guess it's not a surprise to anyone anymore that Olly will thankfully be doing a few more performances before Trent starts. Yesterday night was an absolute nightmare for me in terms of controlling my emotions. I couldn't help but look back at Oliver's first performance and marvel at just how far he had come. His interpretation of Billy as the tortured, neurotic boy remains, but he has built on that adding even more depth and texture to what already was a very colourful portrayal. His confidence on stage and general ease with which he owns the stage has grown in leaps and bounds. Stagecraft-wise, I must confess that I find his acting first rate. In terms of realism, naturalness, subtlety and sincerity, Oliver is very nearly unmatched in my eyes. One example of just how subtle he is - in Grandma's song - there's no shiny eyes, head up response with the repeated "dancing" when she sings, "And we'd go dancing.." Instead, he gives her a gentle, almost indulgent smile at that point. It's such an entirely natural reaction, completely lacking in any stagey-ness. This ability of Olly to react to things in such an intuitive and natural manner, in addition to giving the audience a very clear insight into Billy's feelings without feeling emotionally manipulated also serves another purpose. I feel this special talent he has draws out some of the finest aspects of the other members of the cast who interact with him as well - they too become more rounded, less caricatures, more characters. In essence the story of Billy and his relationships become even more multifaceted and even more poignant.
93 Oliver Taylor in BETM: Dossier Some of the other highlights from the show must surely be the performances given by Jackie, James and Sara, all of whom simply rose to the occasion magnificently - supporting the leavers when needed, and all of them being immensely poignant in their farewells. The audience cheer for Ryan at the end of Expressing Yourself recognizing the hard work he has done and his achievement of performing in the region of 400 shows(!). One very special highlight was Oliver's three big dance pieces - Angry Dance, Swan Lake and Electricity. Olly is such a thoughtful dancer - he has very clear ideas about what he wants to get across in the dance, and yet this 'thinking' aspect of his performance doesn't inhibit his dance at all but only serves to enhance it. It's a funny paradox, but I suppose it makes sense - that when you really think very deeply about the dance, you somehow manage to enter into the dance such that you lose yourself in it - the dancer himself becomes merely an extension of the music, and he and the music immerse themselves in each other and they become one. Olly breathes life into the choreography. He gives the dance not just beauty and grace but even more he gives it a meaning, a worth, a backstory. The intensity of his dance is palpable - his gestures, like a motion distilled into a pure line, his pauses - like a quick breath. One interesting point which hasn't been commented on yet is that Olly didn't do the fouettes at the end of Electricity (which was incredibly beautifully and emotionally sung) this time instead choosing to do a series of lightning quick attitudes(?). It'd be interesting to know the reason for the change. I suppose the real heartbreak moments of this performance came towards the end (although I must admit to being teary eyed from the Letter scene in Act 1 onwards!). Olly was very visibly affected from the Goodbye scene with Mrs Wilkinson onwards, having to take deep breaths and pauses to compose himself. His usually loud, insistent - No Miss! You don't understand - was this time pleaded with in a near whisper. He started to properly cry at the 'very fxxxing special' point and the sniffles were clearly audible. It's a wonder he managed to pull himself together for the packing scene with Dad, but he properly lost it again when the time came for the Letter Reply. He delivered the first few lines of that scene in an unnaturally cheerful voice, as if he was clearly trying to pretend that nothing was wrong. By the second line of the song - proud to have known you - he could not sing any longer. Try as hard as he might, he could not get the words out. Sara was a real herione in this one - she bent down, held both his hands in hers and looked at him and they ended the song like that. Sara and Olly just looking at each other, both holding back tears. For a split second the music, although still playing became non-existent. For a split second, the world stopped and nothing else seemed to exist, except those two on stage looking at each other in silence. My heart must have broken into a million pieces at that point. And just when I thought that I could not bear it any longer - there we go again with the Billy/Michael goodbye. No final hug between Billy and Michael this time - this happened at the end of Expressing Yourself. Instead what we got was a heartwrenching goodbye with Billy planting a kiss on Michael's cheek then as in the usual Olly style, walking away, then stopping, he turns and whispers forlonly, See ya Ryan. The entire theatre breathed a collective Aww as Ryan responded, See ya Olly and they both started bawling. For a moment it ceased to be about Billy and Michael anymore. This was about two creative talents ending their partnership together. This was about two friends saying farewell to each other. This was about two boys saying Goodbye to the show, to the cast, crew and audience. Hearing the See ya Ryan - I well and truly lost it. Seeing Oliver this kid who was so immensely into the role, who simply was Billy for me, whose discipline and determination never once saw him step out of character during the show - seeing him permit himself this one moment to say farewell was incredibly, incredibly touching. Allow me to say a few more words about each of the leavers. To Ryan whose consistency and hard work in the role of Michael has seen him work with every Billy, who has been with the show since the very beginning, who together with Brad and Ashley created the character of Michael which we know and love today - thank you. Your versatility in working with this many Billys and coping with numerous script changes will surely prove useful in whatever path you choose for yourself. To Leigh, who has been with the show for 2 years and has developed her portrayal of Debbie a great deal - I wish you all the very best. Although I was very disappointed not to see Isaac perform one final time last night - his performances of the Dream Ballet, the outstanding support he always gave to whoever played the role fo Billy, the style and understated elegance of his dance will not be forgotten. My final few words are for Olly. I cannot tell you how much I am going to miss your Billy. You have been such an incredible, incredible star and I am completely devastated that you are leaving so soon! I guess it's true what they say about how the best things in life never last! Your fragile, vulnerable, and eminently relatable portrayal has really struck a chord with me. It's hard to grasp the fact that the time has finally come to say farewell, and even more difficult to express with any sort of cogency or rationality what your portrayal of Billy means to me. Over the last weeks, I've tried to nail down exactly why I've become so attached to this particular interpretation of the role, and I don't think I've quite managed to do that. In other words, I don't know why. What I do know is this though - your Billy doesn't just sing to my soul - nay it's found it, gripped it, and imprinted itself into it's very fabric. I guess what I'm trying to say is that the loss of this Billy, will for me, be loss on a very personal level. At times I wish I had never seen this particular take. It hurts too much to have it snatched away from me. And yet I know that deep down, I wouldn't have traded these past few months for anything. Watching Oliver on stage gives meaning to those immortal words of Oscar Wilde - "We are all in the gutter, but some of us are looking at the stars." Oliver is such an immense star. May this particular star shine forever bright. May he never grow dim.
Friar Damn JW you've made me cry AGAIN.
94 Oliver Taylor in BETM: Dossier I have decided not to write a review after all as others are much better at it than me. However, I thought those of you who were not in London yesterday might like a bit of background added to your mental pictures – not that I’m trying to make you a little green with envy, yeah right! These are of course only my perceptions on the day… A bite to eat and back to the stage door. Liam, Leon, James, Travis, Brad, Stephen Daldry and others turn up and mingle with the crowd with lots of photo’s being taken. They gave so much of their time, before, during the interval, and after to us. What thoroughly nice, polite and caring young people. They didn’t have too, they’re not public property and all we should expect is a nod and a hello but they gave so much more. The bus occupants must have wondered what was going on as there were two or three different groups of people getting photo’s and autographs on both sides of the road. Our big stars of sport and entertainment could learn a lot from them. Thankfully no one got run over but it was close at times… The show itself as I said others will write about it but I had Billy maniacs to my left, Billy virgins to my right (one of whom dozed off several times – still she enjoyed it so much she’ll be back) and beside them an Olly maniac (JW). It was a stonking and emotional show. Anne Emery was great as always (earlier in the week she challenged JohnnyC to sort out Broadway so she can be Grandma there – don’t know what he’s supposed to do about it!) as were the whole cast. The letter reprise scene was heart wrenching with the forum members near me on the edge of their seats willing Olly on through tears. Much of the show was accompanied by the woman behind demanding her husbands scarf so she could wipe her eyes. The show over ran quite a bit as there was much applause and standing ovations a number of times. Olly, Ryan, and the others were around for ages after the show, but a very special vote of thanks to Travis’ parents who were so wonderful and giving to the nutters who love BETM it is no surprise as to why their son is such lovely chap.
*cazzy-lou* omg what an amazing show that was It was great to see Isaac even if he didn't perform Swan Lake, as after the matinee whilst talking to him we got the impression he wasn't performing at all, but when he gave on for the safety curtain scene there was quite a bit of cheering (especially from me & my friend) Two empty seats next to me Had three very enthusiastic audience members seated around me, who clapped, cheered & shouted at every oppurtunity !!! liam, leon & travis Express was absolutley great & there was a standing ovation at the end which was VERY well deserved The Letter Reprise was the BEST i have ever seen, Olly couldn't speak, he was crying so much & the last exchange between Billy & Michael was sooo moving I'm so glad i made it to this show, has to be the best i've ever seen
Remi I'm in love with this show! If Matthew won the the award for the most emotional Letter ever on his last night Dec. 2nd 2006; 1 year later Olly certainly did win the one for the most emotional Reprise. That was just HEARTBREAKING. Couldn't stop crying I will never forget the goodbye scene with Ryan as well. Not going to write a review, everything has been said already. No speech at the end, disappointing, it was a bit rushed. But, best wishes to Olly for the future, he clearly enjoys himself when he's dancing, it's obvious. Good luck to Ryan and Leigh too.
Irishboi Thanks for your reviews everyone....especially JW.....as soon as I saw there was a post from you I started crying , I knew what was coming .....and your words kept my waterworks going. Thank you.
Fizzipop Everyone gave a great performance last night and in particular the letter reprise and the final parting between Billy and Michael brough a tear to my eye. I've never known such a strange audience, they were on the one hand really appreciative of the show with clapping in places I've never heard it before (and it wasn't just forum members) and on the other hand getting up and down out of seats, running out, swapping seats, rustling and chatting. The couple next to me were on their mobile phone throughout, really distracting and a shame they were positioned mide row so out of th eye lie of the theatre staff, I would have happily chucked them out. Despite that though I really enjoyed the show
.:Chloe:. Wow. Fantastic review Justin. It bought all the memories of last night back to me and im still crying now!
95 Oliver Taylor in BETM: Dossier I wont write a review but will just say im really mad at myself for not seeing olly earlier. Last night was my first time and i was amazed. That boy is seriously talented and i can't believe he's gone. I think the goodbye scenes (especially letter reprise) will be the things that most people will remember, i know i definately will. As soon as Olly started crying, i was off and did not stop until well into the finale. I’d just like to say well done Olly, Ryan and Leigh, you will all be missed!
Dancer Ryan: What do you get if you throw a piano down a mineshaft? A flat minor (miner) . Nothing much can be added to all the excellent reviews so far, but it did come as a bit of a shock to see Olly (who I've never seen cry before) suddenly break down in the Letter Reprise. This was the most heartbreaking Letter/Letter Reprise I've ever seen. And then when you thought your emotions couldn't be squeezed any more you had the farewell between Billy and Michael, with the boys saying goodbye using their real names . A little surprised that there was no farewell treat on stage at the end but after the show Liam and Leon said they hadn't been approached to do anything. Perhaps no speeches or flowers was what the children wanted. Olly, Ryan and Leigh, the three of you will be sadly missed.
JJF I still cry thinking of last night. Here is the letter reprise:
Billy: Bye mum, see you soon? Dead Mum: No, I don't think so, do you? Billy: No Billy: Ive written you a letter Dead Mum: A letter Billy: Me reply. (Pause) (sniff) Its' a bit crumpled. Billy: Dear mum, (crying) and please mummy, know that I will always be proud to have known y... proud (sniff sniff) proud (sob) and i promise (voice becomes almost inaudible)you this Dead Mum: in everything you do, always be yourself Billy: mum..y (although more like a squeak from a mouse rather than as a word) (sob sob) and i (sniff) all (sobs).... (in an almost inaudible whisper) t... Dead Mum: love you forever Billy: love you fore.... (sniff) Dead Mum: love you forever Dead Mum: billy Billy: mam (barely said as through a sob) Sobbing continues as he leaves the stage.
Now I've listened to it again, I'm crying again. Pass me a sniffly kit or two or even a crate load.
Steamboy There was a fair amount of harumphing beside the stage door about the lack of ceremony at the end of the show, but ultimately it's the shows decision to do or not do extra recognition, plus we don't know what else happened behind the scenes. One thought that occurs is that doing things like multi-Billy finales requires additional rehearsals, which incurs extra costs that grow as more and more former members are added, plus scheduling gets harder and harder to achieve. It may have been a concious decision to stop a tradition before it starts, in the interest of avoiding larger headaches later. Or perhaps they just overlooked the combined signifigance. In any case, nothing can turn back the clock and give them another 'last night' opportunity for these alumni. One other totally random thought that occured to me last night... the fellow on the Safety Curtain doesn't just look like Arthur Scargill... he also looks quite a bit like Isaac.
TM No need to do another Saturday evening review but just to add a bit: I never experienced that before, Olly's sobbing in the letter reprise seemed very contagious to the whole audience. And those who could maintain their composure - but not later than the goodby scene. After Olly gave Ryan the kiss and then turned to him before he hopped off stage with his voice still frail and flimsy "see ya Ryan" there was a sudden "ohhh" response from the audience. At last the curtain that uses to come down very slowly at the end - this time extra slow. No I didn't cry - there was a grain or something in my eye.
Helen
96 Oliver Taylor in BETM: Dossier I thoroughly enjoyed the show last night. I think one of the most emotional bits for me was when Billy is given the tape by Mrs W for the audition but really he just needs a bit of reassurance and a cuddle - the vulnerability on Ollie's face as he just stood there, closely followed by the sheer joy on his face as Billy gets the motherly hug he so craves was so well acted by Oliver. Ryan looked like he thoroughly enjoyed his last "Express Yourself" and at the end when he did his "call me" gesture it seemed to be aimed at my daughter! My emotions were pulled the most though when Oliver became so emotional as he sang the Letter at the end - and the masterstroke of having the boys say goodbye to each other using their real names Ryan and Ollie instead of the character names Billy and Michael was a really nice touch.
JJF I guess the best review of Olly's last night would be to quote from one of the previous Billies. In summary, he was impressed and said Olly was outstanding and that his dancing was amazing. Also, I was surprised to see one particular ex Billy that could have done with a sniffly kit. What with the emotion of last nights show, being sat in close proximity to and having chats with Travis, Liam, Leon and some of the current ballet girls, having a laugh with James Lomas, getting almost smothered in kisses by Ryans nan oh not forgetting having Travis and his dad mind my crutches (more sympathy) and btw, if anyone heard a huge soppy aww from the ballet girls outside the stage door whilst Olly was signing autographs, that was for me. They had just found out I came down last week to see Olly despite having spent the day in hospital with my leg (more sympathy)!!! All in all, a day that will live with me forever. To top it all, I got to meet Ryan and family again on the way home today at the train station. Having now met and chatted at length with Ryan's family several times, Olly's Mum and Dad and Travis' parents I can see how these young men are such polite, warm, friendly and tolerant people. Hopefully I wont embarrass Olly's sister when I say this, but I was particularly impressed last night that she allowed the crowd to get their pictures, autographs, say their kind words etc without rushing him. Thankfully, Olly managed to avoid getting run over by a bus although he kept getting further out in to the road despite several warnings from sis.
Patc It's nice to get home and read all the reviews of the wonderful weekend shows and especially Sat. Evening. I wonder if any longtime Forum Members have had a more emotionally charged last night. Suffice to say that it was a last night that will still be remembered when even Sparky is old and grey.
spark inside of me Ok....firstly appologies for this review taking me so long to write but i've had an essay to do (ironically the essay is shorter than the review ) but a week late isn't too bad! Secondly i'd like to dedicate my 11,000th post on this forum to Olly Taylor and i hope the following review will explain why. Please excuse all typos and mistakes, and feel free to comment on anything i've written either here or in PM. To start with I was amazed that for the first time Stephen Daldry actually had a microphone that worked! It was nice he had taken to time to fly over from Australia for this evening and his speech was very complimentary, especially towards Olly and Ryan.
Act1 Ryan was applauded when first coming on stage and although he seemed slightly more subdued than usual it was difficult to believe this was actually to be his very last time at playing Michael after so long. Olly’s Billy is very quiet and keeps to himself a lot. In particular his lines “take me up and hold me gently” seemed the most personal I’ve ever heard. As if his Billy is thinking deeply Olly keeps his eyes fixed upon the ground too in an attempt to block out all the situations around him. Leigh was also applauded when coming on stage which put a smile upon her face! Olly’s Billy is less affected by the miner’s strike that others have been and his line ‘f***** if I know’ was delivered as if all of it is a joke to him. The struggles his Billy has are the relationship with his dad, coping with the severe loss of his mum and a need to overcome his downtrodden personality that causes him to lack confidence. All of these are dealt with during the performance in very personal terms to his Billy. James wasn’t having much luck with the beans in the breakfast scene which he tipped all over the floor instead of into the saucepan which was very funny (and Ann was the first to notice!). I’ve noticed that sometimes this scene appears to be a bit flat and sadly this was the case in this performance which lacked usual comedy. Olly also managed to tip all the milk over the floor to which Ann was the first to notice again! She had fun watching it slowly trickle down the gap in the floor! Olly’s Billy seems the most connected with his gran as they share a strong and special relationship; this is particularly evident in how he cries out rather loudly when she attempts to eat the mouldy pasty. Olly had a great way of delivering the line ‘Oh grandma, there’s half a pork pie in me shoe!’ which showed his Billy finds his gran’s eccentricities more funny than anything else!
97 Oliver Taylor in BETM: Dossier Trevor was on fine form again in the boxing scene which is his best moment on stage. At this performance his George was being particularly vindictive delivering blows to everyone! Ryan did get his own back though by hitting Trevor apparently quite hard which was quite funny and I think took him by surprise a bit! Olly’s putting off moves were the strangest and some of the funniest that I’ve ever seen getting a lot more than the usual amount of laughter from the audience (or was it just the forum members?!). An excellent Ollyism was how his Billy attempts to pick up the keys with his gloves but instead after several attempts he picks them up with his teeth from the floor which was really funny! Jackie Clune is still far too harsh as Mrs Wilkinson, but she has definitely improved within the role. In particular her timing was well placed with her witty comments towards Billy. It is nice to notice now that her accent is no longer muffled and seems far more natural. Shine was good, Jackie’s singing was ok but she still commands the ballet girls as opposed to teaching them. It was great how Olly’s Billy saw all the ballet girls enter at the beginning which prompted him to quickly head straight to the door, but then annoyance came over his face as he realised he had to stay to give Mrs Wilkinson they keys. Olly’s Billy is rather detached in this scene as he thinks to himself a lot which you can see by his facial expressions. In particular Olly’s Billy finds Mrs Wilkinson quite a scary person and he is puzzled why she won’t pay him any attention at all. In fact the first moment he really attracts her attention is when she comes at him with the fan to which Olly’s Billy certainly wasn’t impressed with! His Billy doesn’t make much of an attempt at joining in and just does it because he feels pressurised due to the situation he is in. He does show concentration, but not much enjoyment of dance at all. His response to Mrs Wilkinson’s demand for 50p related to this and was so funny as he responded to her as if she were charging extortionate prices! Olly did a different transitional routine at the end of this scene which related perfectly to how introverted his Billy is at this stage. You could see him thinking for the first time about the lesson and the way he was now experimenting with some of the things he had just seen the ballet girls do. He also seemed in particular to be watching the shapes he was making with his arm and thinking about them in detail. Olly’s Billy can never stay mad at his gran and he quickly forgives her for looking at his private things directing a shy smile towards her. He asks very personally and cautiously about his granddad with great interest and listens to his gran’s every word in reply. Ann was excellent as always. She started off rather quietly and then really filled with life. Olly’s Billy rather uniquely in this scene kept his eyes fixed upon his grand the whole time and again showed he was thinking a lot. At the end he reached towards his gran and held her hand while a faint smile came across his face which I’ve not seen done before which was a very powerful moment. Their hug at the end was special too as this was their last main moment in the show together. Olly is another one of the Billys who is at first on his way to the ballet lesson and then decides to turn back only to be stopped by Debbie. Olly is a wonderfully expressive Billy and his facial expressions convey a lot, in particular here you could see that he was uncomfortable with the situation he was in and unsure how to act. Jackie is too patronising in this scene at first “You should have though about that before you came in” which hardly encourages his Billy to remain at all. Again, like during Shine, Olly’s Billy is far less aggressive that others have been as he almost pleads with Mrs Wilkinson to tell him what he is supposed to be doing. For Olly, Billy’s triumph in dance in primarily shown in this scene is a combination of things. Firstly and mainly it is on a personal level, his Billy wants to improve at dancing so it can be the only thing his is good at and enjoys. Secondly Olly’s Billy is very aware of the presence of Mrs Wilkinson and also, in a quiet sort of way, wants to prove to her that he is capable of learning how to dance. Jackie has started to interact with the ballet girls in this scene, but she seems totally unimpressed with them, and Billy when he at first shows sings of talent. The little scene at the back of the stage, after Billy runs on, with Jackie was excellent as it showed a growing in confidence and security between Mrs Wilkinson and Billy and this wonderful moment could so easily be missed. During Solidarity Olly’s Billy is very realistic and you can really feel and see all his frustration. As he overcomes this his Billy gains in confidence and almost becomes a different character. It is quite emotional too at times when you see the disappointment upon his face. By the end of the scene he is happy with all he has achieved and has found something for a long time in his life that makes him pleased. It is a great moment to watch. The bit in the middle where Olly’s Billy in the “fairy box” pose was rather a poignant moment where, like his transitional scene, he payed particular attention to the shapes he had created and his pose. Rather interestingly after Debbie’s line “can we have a go?” Olly’s Billy immediately comes out of his temporary spell and stands still as he is now aware that the others are watching him. The applause at the end lasted for a long time where Olly was unable to hide his surprise and happiness. When Billy’s dad is brought onto the scene this has a striking affect upon Olly’s Billy as he is brought face with the other problem in his life: the relationship with his dad. His delivery of the line “I hate you, you’re a ba*****” was the best I’ve ever heard, it totally silenced the auditorium and highlighted just how much Billy fears his dad will stop him from being happy due to their poor relationship. His frustration was excellently shown in the toilet scene with Mrs Wilkinson, and he also conveyed as slight hint of fear that he won’t be able to continue dancing anymore. Again with Olly because of his facial expressions you really get the sense that he is thinking about what he could possibly do. His Billy is caught as he wants to continue his personal triumph, but also wants to improve his relationship with his dad. Everyone was highly anticipating Expressing Yourself and Ryan received a lot of applause from his first appearance on stage. The thing I always admired about Ryan was how he always managed to keep his performance
98 Oliver Taylor in BETM: Dossier fresh even though he had performed it an amazing total of times (Stephen Daldry said four hundred and something!). With Ryan’s Michael you always felt comfortable as you knew he would give a great performance. His pairing with Olly was one that worked really well. Both of them really enjoyed themselves in this scene, and it was nice in a way that Ryan won the shoe race! A funny moment was when Olly missed one of the dresses as he then ended up with a while pile of them by his feet! It was a nice touch how his Billy takes a look at the dresses in the wardrobe before selecting two particular ones for them to dance with. A very enjoyable moment in the show and a great moment for Ryan which I will remember with fond memories. Chris Lennon was less intense than usual in the confrontation scene, but was still menacing. Ironically James seems a lot more intense that is usually is and gave a scary opposition to Tony. Olly’s cry “stop it please” conveyed so much pain and emotion that it once again totally captivated and silence the audience. Great acting. Olly’s Letter scene was full of emotion and in particular special to his interpretation as this is the first time he makes the transition from thinking about these feeling to actually showing them. His tears were very effective. Jackie still maintains her distance far too much sitting nearly as far as she can away from Billy and there is no way she could have read the ‘smash hits’ on the magazine! As I’ve previously mentioned, Jackie’s voice blends well with Sara’s in this scene and seems to imitate almost a relaxed and soothing country style. Upon seeing his mum, Olly’s Billy at first looks at her in disbelief she is before him, and then very quickly throws his arms around her tightly to make sure she won’t be able to leave him again. It was one of the saddest moments when she left him and walked slowly away. Born To Boogie was easily one of the most enjoyable dance’s I’ve seen in this musical for a very long time. Olly’s Billy finally becomes confident with Mrs Wilkinson and both really enjoy themselves. The transition in Olly’s Billy is a wonderful moment as he smiles a lot more and genuinely has fun. Jackie’s dancing is not her strongest point, but she somehow manages to inspire Billy with enough confidence. Olly’s dancing was excellent and you wouldn’t eve have guessed this style wasn’t his strongest area. The flip off the piano was great. Liam seemed to be having fun in the audience too clapping along! The pre angry dance scene is a moment where Jackie’s confident Mrs Wilkinson is really effective as she really pressurises Billy’s dad and Tony. One of the most special moments in this scene was how Olly’s Billy quietly stood next to her while she was talking and held her hand for a few moments. It conveyed so well how close they had become and also how vulnerable Olly’s Billy really is when in situations of conflict. After this he silently went and sat in the far side of the room looking rather upset. When forced upon the table by Tony, Olly’s Billy responds rather sadly – and it is his sadness which really intensifies into the Angry Dance. Olly’s interpretation of the Angry Dance isn’t the angriest interpretation, but the most impressionable for me. Relating in with his Billy, showing emotions to other people is very hard for him – and this is the first time that the audience are allowed to enter his mind and experience his thoughts. Olly’s movements were very smooth and the whole act ended in a perfectly as his Billy fell to the floor with a cry of pain.
Act2 Merry Christmas Maggie Thatcher was very lively as usual with the ensemble being a great team. James Gaddas made a great entrance sort of sliding in at the back and looking around annoyingly at all the celebrations. From this very moment you can see from his acting that he is thinking about Sarah. James really impressed me with his version of Deep Into the Ground as he handled the song so softly and tenderly which I’ve never heard him do before. His singing related very strongly to the overall tragic approach he took to the song. Olly’s Billy during this scene was again quite secluded and thinking staring down at the floor. Olly’s singing at the end of the song was so pure and really added an extra poignancy to the scene. In the Winter Scene Ryan was dependable as always and for one final time gave a funny performance. Both Ryan and Olly left some well placed pauses and in particular the moment where Michael shows Billy he loves him gained an extra force. Swan Lake was one of the particular moments in the evening that I had been eagerly waiting for. Olly’s Billy really delves into the music and his dream by listening carefully at first and then you get the idea you enter his mind in a very personal experience. Tom performed Billy’s Older Self which was a shame that Isaac couldn’t one last time, but Tom has always given consistently strong performances before and did again on this occasion. Olly’s dancing was excellent and so light that even before he was attached to the wire you had the impression he was flying. Beautiful shapes and poise. It was a very captivating moment of the show and one which Olly was incredibly strong at. There was a long amount of applause. He seems rather nervous and shocked when he discovers that his dad had been watching him and when he runs off he does so as if he is scared of how his dad will react. Jackie wasn’t as strong as she usually is in the following scene, but James was very emotional which compensated. I’m so glad the “piss off” line from Mr Wilkinson has finally been omitted as now the whole scene gains a very tense atmosphere – after all it is the most important turning point in the show for Billys dad. James managed to sustain this atmosphere well during He Could Be A Star. Since seeing this scene last I found it interesting how all the stage was empty apart from Tony and his dad which added perfectly to the bleakness. Chris Lennon didn’t handle this scene too well as he showed too much confrontation to his dad and his singing was more ‘shouty’ than it usually is. 99 Oliver Taylor in BETM: Dossier For me, at the RBS is the first moment in the show that Olly’s Billy showed he is more comfortable with his dad being able to look at his when talking and standing a lot closer towards him. A slow development which eventually leads up to Electricity. Isaac got a round of applause coming on the stage in the following scene and I’m sure many people will associate this moment in the show with him for a long time! Both James and Isaac performed well and got lots of laughs. I knew that Electricity was going to be special as I could see Olly’s whole performance leading up to this moment, and it really was. To start with Olly’s pure singing in this scene was the best I’ve ever heard and in particular his final line “free…I’m free” left a considerable effect upon me as it was delivered with such feeling and volume that you now at last could finally see Olly’s Billy as a developed and confident character. Dance has helped him to do this. Being an associate member of the RB Olly’s ballet was superb as every aspect of his routine was smooth and wonderfully expressive. There was a real sense of this overall being Billy’s expression as the whole scene flowed so brilliantly. Olly deserved all the applause he received at the end and a lot more. Personally I felt this was one of the most impressive and among the most impressionable performances of Electricity I’ve ever seen. Interestingly at the end Olly’s Billy raised both his arms towards his dad in an action which suggested he is about to hug him, and then he quickly grabbed his bag instead and ran off. This was such a tense and effective moment on stage which both Olly and James acted well. In the following Letter Scene Ann was a funny as ever who now includes a whistle to attract the attention of Tony and Jackie! Back in the village hall Olly’s Billy replies ‘if you like’ when one of the ballet girls requests his autograph – he was certainly signing a lot in real life after this performance! Leigh also hugged Olly upon her exit. This is one of my favourite moments from the musical because the scene and dialogue establishes itself like a play where one’s attention is drawn to the acting of the two performers. Olly acted this scene in such a tender and realistic way which clearly had a profound affect upon Jackie who was crying a lot at the end which I’ve never seen her do before. As I’ve previously commented upon before, the dead mum always has the most difficult lines in the musical to deliver in response to Billy “No, I don’t think so” and this couldn’t have applied more to this particular performance. Without doubt Olly delivered the most emotional and powerful Letter reprise I’ve ever seen. Even at the beginning Olly started crying with his voice wavering slightly, but then as the song progressed and he couldn’t sing at all the whole scene intensified in its profound sadness. It really made me think in a different way about how this young child has been separated from his mum for such a long time and all the pain it had caused him. What made this scene so special for me was that Olly’s emotion was real and this really affected the audience and in particular I’ve not cried so much during this song before. Of all the many moments from this show, I will always remember how this scene was performed as it was so special. In all reality I didn’t expect Olly to recover, but he somehow managed to in his final scene to say “seeya Ryan” to which he was replied “seeya Olly”. This not only showed how both Olly and Ryan are great friends but how they appreciate each others performances. Lots more emotion mainly from members who had noticed this little change which conveyed so much and ended the evening beautifully.
Ryan you have contributed so much to this show and it would be impossible to overlook all you have done and achieved. Thank you so much for all those years of your life that you have dedicated to this production, you have been consistently brilliant! Thanks in particular to Paddy who did a wonderful job at replacing Tessa and I’ve heard who was a great Grandma, and Isaac who has always given great performances as Billy’s Older self and in the ensemble. Finally Olly, I can’t really say more than thank you for such a great performance. You clearly have a wonderful career ahead of you and I truly hope that you can fulfil your dream to be a performer. I’m sure you will always look on your Billy days with many great memories. Billy’s story must strike very personal chords with you first being encouraged to join in a dance lesson by your sister’s dance teacher (a bit like Mrs Wilkinson!). Then of course becoming a mid-associate with the Royal Ballet which is another achievement you can be proud of. I hope you keep up the ballet as it would be a shame for all that talent to be lost. I’ve always thought your reason for wanting to be a performer ‘I’m inspired by watching it’ speaks a lot and I’m sure you have already inspired many from your performances at the Victoria Palace and will continue to do so in the future. Good luck in whatever you choose to do.
JW Thanks for your review Sparky. I'm just wondering about your assessment though about Olly's Billy being transformed by dance, or as you put it - "his Billy gains in confidence and almost becomes a different character." I think I might have to disagree. For me Olly doesn't play on the transformative power of dance aspect of the show - not in the same way that some of the other Billys do it, I feel. It's not that he side steps the issue, but I think rather he makes it clear that for him, the medium of dance is but an avenue for Billy to transcend his circumstances and get a glimpse of the divine, but when the music dies off, he comes crashing back down into the dismal condition he finds himself in yet again. There's always the sorrow to come back to. The joy is fragile. The dance ephemeral. I suppose, at a certain level, I feel that Grandma's song applies as much to Olly's Billy as it does to Grandma. Olly has turned Grandma's song on it's head and made it a microcosm of his story as well.
100 Oliver Taylor in BETM: Dossier And I suppose, I feel this is where I find Olly's Billy most intriguing. That he doesn't tie up the loose ends of the story at the end. The intuitive young man that Oliver is, he knows that there is no such thing as neat endings. Right till the very end, dance is but a temporary respite, a brief relief from the burdens of the world. He may be satisfied that he has achieved one dream of going to the RBS, of getting out of the mining town, but he's not fulfilled. Like I said in one of my earlier reviews, I feel that even at the very end, the story of Billy's loss lives on. He's so affected by that loss that he's unable to open up fully with anyone else. There's a strange sort of paradox here - that Billy ends the show satisfied with one aspect of his life but unfulfilled in the grand scheme of things. But this paradox is one I think many in the audience can relate to. I certainly can, having done well academically, and embarking on a prestigious career at a top training programme, and yet I still feel unfulfilled. I think this is where Olly's genius lies. As a dancer, he's outstanding. As a singer, the beauty and tone of his voice combined with his musical phrasing sends shivers down my spine. But for me, I'm most appreciative of Olly for his acute perception of the human race - his ability to identify those more troublesome aspects of the modern man and to portray it in a sensitive and realistic way on the stage, something which I feel no amount of training can teach. Amazing is not strong enough of a word for that skill. Consider this - Oliver, the 13 year old dancer has made the story of Billy so much more than just about a boy who wants to dance. He's made the story of Billy an examination of the human condition. You're spot on Sparky when you mention that Olly's reason for wanting to perform - ‘I’m inspired by watching it’ - says a lot about him. With Olly, performance isn't about the applause, the cheers, the bravos. It isn't about the lifestyle. For Olly, performance is primarily about inspiration. It's very much an internal thing with him. He's inspired by watching others perform, he draws on the font in his own performances, and in turn he challenges and inspires others. I'm certainly inspired.
spark inside of me JW – Thanks for your comment…I haven’t got around to reading yours yet, but I’ve heard it is good. I think you might have misinterpreted me about Olly when he “almost becomes a different character”. I meant it in the sense that Dance gives him the confidence that I feel his Billy is lacking at the beginning of the musical. In particular at the end his character has undergone an important transformation. I totally agree that his ‘joy is fragile’ and even at the end there is still a sense of realism to his performance. I think it is very clever how he creates this atmosphere of success/loss and combines these two extremely well. He is certainly inspirational…as I’ve previously commented upon.
Jen A rather late review. Had difficulty in getting onto the forum last weekend, and then just a very busy week, and Christmas had to take priority. This was my first viewing of Olly I really enjoyed his performance somehow he was taller and looked older than I was expecting. From the start he established his Billy he was good, though at times I thought he was a bit shouty. His singing voice was great as was his dancing. There was a real buzz about the place and it was great to see Stephen Daldry. Saw a few cast members in the audience though I am not always good at identifying them. It was nice to sit among members of the forum and chat beforehand and during the interval. Ryan had grown up so much since I last saw him; he is taller with a lot deeper voice and no longer the little tiny boy. Expressing yourself was great fun. Anne as ever made a great Grandma she really seems to enjoy working with the boys. Still not really sure about Jackie as Mrs W still a bit harsh, I think she should put a bit of “herself” into her Mrs W. Really loved Olly’s Swan Lake he was so graceful. I always enjoy the different versions of Electricity so it was nice to see Olly’s. The goodbye scenes were obviously difficult for Jackie and Olly the warmth we saw from Jackie here is what I would like to see more in her performance generally. Sara was so good with Olly in the letter reprise when she just held his hands gently to reassure him. Loved the use of names as Billy said goodbye to Michael. Hope there was someone to give Olly a reassuring as he got to the end of the aisle. Both Olly and Ryan seem to have recovered for the finale, which really went with a swing. I was sorry that there were no curtain speeches, but sure they had their reasons and the young cast were clearly very upset by then.
anita85 the Letter reprise is on youtube.com very emotional
Irishboi OMG im crying so much I can hardly type Poor kid, he was really feeling it there. That really is very sad I love the audience reaction when Olly says "see ya Ryan". Wow isnt in a wonderful show that we have all been so lucky to become addicted to. And isnt Olly Taylor just an amazing ambassador for it.
101 Oliver Taylor in BETM: Dossier
ErinVA I'm dripping on my keyboard!
JJF I still cant listen to it without crying. I must be getting sentimental as I approach middle age. Or perhaps just mental.
Anika Oh my god as soon as I listen to the song I am crying !!! I am crying soooo much Aw I miss Olly and Ryan! They were so fantastic luv you
jaxx How heart wrenching is that??? I wish I could've been there to see it!
Katkins o.m.g.! that made me cry! so emotional! aww you really feel for olly at that moment and its olly not billy if you get what i'm saying!
BillyWonder I am a thirteen yr old girl and even i can't stop crying!] :cry:
Photofreak this is heartbreaking. What an emotional night it must have been. Olly is a wonderful person, that shows.
jillmichael Just looked at some of the pictures from Dec 1...I have to say that Olly is a very good looking boy, isn't he?
anita85 sure he is...just ask my lil sister she's crazy about him ....
Photofreak Saw the name of this singer on the BETM site in the Meet the Billys section: Eva Cassidy. Olly was asked: "If you could meet anyone alive or dead who would it be and why?" His reply: "Eva Cassidy because she was an amazing singer." http://www.youtube.com/watch?v=K7-haKkFnT8 He's got a good taste for music, what a wonderful voice, so sad she passed away so early in life! I guess Olly might enjoy some of the songs by Mathide Santing, a musical icon from my country: http://www.youtube.com/watch?v=pTV9W9N7TKk
spark inside of me I remember reading his comment about Eva Cassidy...i was well impressed!
JW I am even more impressed by his choice of favourite dancers - Rupert Pennifather and Lauren Cuthbertson. With all due respect to them, they're essentially unknown oustide the rarefied world of ballet! Not even principals in the Royal but first soloists. It says alot about Olly - not just his commitment to dance - but the fact that he's chosen people who are less popular, more esoteric - it says alot about the kind of person and the kind of performer he is - someone who doesn't pander to popular opinion (or if one were to be less tactful - that great horde of the masses)! I've said it before but I'll say it again - he's got integrity.
jacob I believe that Rupert Pennifather and Lauren Cuthbertson are artistes with the Royal Ballet who take an interest in young dancers who may join the Royal Ballet School in the future. Apparently Lauren showed Olly around the Opera House just before he left BETM.
102 Oliver Taylor in BETM: Dossier There is a lot to be said for young dancers going to watch performances of different Ballet Companies as they can learn and be inspired by seeing a variety of styles. Olly's Dad told me that they had only been to a couple of Classical Ballets. Of course it is not easy living in south Devon. When I lived in Exeter I had to travel to Bristol to see some ballet. Actually, trains from Exeter to Paddington now only take about two and a half hours, so there would be plenty of time to take in a matinee at the Opera House on a Saturday I would think. Why not book a hotel room in London for a few nights during the school holdays? Then you could sample the Royal Ballet, English National Ballet and Sadlers Wells (Matthew Bourne) as well as the smaller contemporary dance companies. See a real Nutcracker and a real Swan Lake! Maybe meet some Principal Dancers? In July and August the great Russian Companies usually play seasons at The Opera House and the Coliseum. Their dancers perform at a different level I think. How about it Elsa?
Elsa To all those of who gave Olly cards or gifts, thankyou so much for your kindness and generosity. He will reply - have patience!!
Remi
103 Oliver Taylor in BETM: Dossier Two actual last shows
Anika I think it´s great that Olly will do some more shows. After he had been crying on his official last night and you could see that he really wants to go on, I am really happy for him that he can do a few more shows. I hope he can enjoy his last performances as much as he wants to and that his very last goodbye won´t be too hard for him! Go on,Olly !
bobbyswfla I see any additional performances by Oliver as a gift to future audiences. Some young performers never succeed as adult actors, but the multi-talented Billys have vast arsenals of skills in mime, acting, dancing, singing and acrobatics. On top of that they have that hard to define charisma. With Oliver, I am reminded of a child star named Christian Bale. They both have/had incredible intensity, the ability to pursuade directors to let them take some artistic risks and a hint of things to come as adults.
December 8, Saturday matinee
Mike Newman Oliver gave an absolutely outstandingly superb performance at Saturday's Matinee. It must have been his visit home to all that glorious Devonshire cream and cider . Oliver has 'class ' stamped all over him, so come back anytime, and as much as you wish Oliver.
SonGfr I'm not gonna do a review as detailed as some people can do. I don't have the claim too talk about each aspect or each part, and my English is too bad for this. I just want to share with you my feelings after this exciting week end. When I'd planned my travel to London, a few months ago, I was so sad, coz I couldn't see Olly playing Billy before he leaves. So what an unexpected thing to learn that he'll do some extrashows and that I finally could see him, on this Saturday, one week after his farewell. I was expecting a lot of Oliver's Billy's portrayal, and ... wow... Now I'm just lost for words. This time was for me the highlight of my trip. Olly is a genius performer, extremely professional and so sensitive too, an elegant and graceful dancer. His acting touched me, and brought tears to my eyes.(actually I think I kept myself for crying during the whole show and also after). I enjoyed all the aspects he put in his interpretation, his apparent frailty, his clearness voice, give a real impact, describing all the torments Billy is living. With a quiet stamina (but a real powerful acting), he succeeds in delivery IMO the most believable portrayal. And I think there was something more, maybe some remains of his final night on this Saturday. His relationship with his Dad, his dead Mum, with Mrs Wilkinson, Michael were also full of emotions. The hardness for Billy to get in touch with his Dad, especially after "Electricity", brought a lump in my throat, (perhaps a personal thing...) Expressing Yourself was a great moment - The letter (a tender time) - The Angry dance (a graceful powerful dance) - Electricity ... (speechless) ... All the show was punctuated with enormous extended applauses, and a standing ovation at the final curtain, richly deserved. I can't choose which moment(s) I've much appreciated, and actually I really won't choose any time in particular. Maybe, the possibility to see Oly acting, to get an autographe at the stage door, unable to say anything coz I was so impressed by a so nice young man, polite and discreet, would be my highlights memories. Thanks for this wonderful time, Oly, and all the best in your future, in all you will do...
Malcolm Oliver is quite an extraordinary young man. Watching him amid the teeming crowds on his 'official' last night I was so impressed with his poise, elegance and general bearing as a human being. I simply couldn't forget it and was completely impressed at his - I would have to repeat the word - bearing, as a human being. I am delighted that I shall (hopefully) get one more opportunity to see him next Saturday particularly as my grand-daughter will accompany me.
December 15, Saturday matinee
MusicalAddict
104 Oliver Taylor in BETM: Dossier Wicked Show this afternoon, it was absolutely fab! Shaun as Michael was a last minute suprise and Olly gave a performance to match his "final show". As certain Olly fans were there I am sure they will review more elequantly than I ever could. Goodbye Olly - it was a pleasure talking to you and your family.
jabka All I can say is WOW! Olly gave a stunning performance as Billy for his last show, which I am so glad I didn’t miss. From the moment Olly stepped onto the stage I knew this was going to be a special, and very emotional show, and it was. Olly is such an expressive Billy using every part of his body, face and persona that he seems so natural on stage, with his subtle gestures and instinctive reactions, you really feel the emotions deeply from his performance. His Dream Ballet was beautiful; Angry Dance very powerful and by Electricity I was in tears – that’s the first time I have cried at Electricity but it was so beautiful, and moving – the applause and ovation lasted for a long time. I always find an Olly show very emotional and this was from start to finish. I think this show will stay with me for a long time as one of the most memorable. Shaun was a brilliant Michael, as always funny, moving and had great chemistry with Olly. The whole cast were on top form throughout the show, the whole show was really emotional. The technical hitch with the microphone pack during Solidarity, was a shame, but Olly remained professional and carried on regardless, until he could secure it, as others have said I think we were more worried about him injuring himself with it, the speed it was swinging around during his dancing. I for one was glad when he got it sorted out. It was good to see a lot of forum members there to support Olly on his last show, and the standing ovations were more than well deserved. Well Done Olly and thanks for a fabulous last show. A big thanks to Olly and his parents for spending time with us at the stage door, both between shows and after the evening show.
Malcolm Some shows are just simply mega-outstanding and Saturday's matinee was arguably one of the most memorable I have seen. By booking well in advance we were lucky to get seats B15 and 16 not knowing, of course, that this would be Olly's really last show. The whole performance was beautifully crisp and Olly was simply brilliant. It has lived in my consciousness strongly since Saturday. He had the ability to bring all the cast to an amazing high. His sheer professionalism and how he dealt with the microphone problem showed the most amazing presence of mind. The show has certainly reinforced my grand-daughter's love of the show. To those moaners who say that Billy should not come back after his last official show - I say get lost! To me this was more atmospheric than his official last show - something I also discovered with Leon's 200th performance. As far as I am concerned he could come back as often as he likes - although of course this is now extremely unlikely. As someone else has mentioned I also appreciate all the time and the unhurried way that his parents spent with us talking after the show, on a bitterly cold London afternoon. It was quite a kind of 'festive' occasion with so many Forum Members in evidence. They took away something highly memorable. Good luck Oliver - I am sure you will have an amazing future ahead of you.
Irishboi First chance to get online since Ollys final show on Saturday. Its been a really hectic few days. I dont want to review Ollys performance, quite simply because I cant find the right words to use. Anything that I would try to say would either come across as cheesy or cliched and I dont want that. All I know is that for some reason since I walked out of that Theatre on Saturday I didnt have the same intensity or love for the show that I had when I walked in. Its hard to explain but in someway knowing that I would never be able to witness that boys grace and lets be honest genious again leaves me with an empty feeling in the pit of my stomach that I really never saw coming. I have a hard time putting into words what I am feeling...... I watched the show on Saturday with tears in my eyes the entire time. My friend was with me and I couldnt even talk to him. He tried to make conversation but I wasnt interested. I didnt even want to hang around afterwards. I just went back to my friends place and lay down and watched X Factor. Its weird I was watching these 3 acts in the final of this huge competition with all the adulation and indeed money that is coming their way and all I could think was that none of them has the X Factor, but that young man from Devon who lit up the stage that afternoon had. Im not doing a very good job of explaining myself. Im just really sad that I will never get to see Olly in BETM again. After tonight I think it might be awhile before I can bring myself to go back.
PerformingArtsFan I was fortunate and privileged to see the Saturday matinee. It was quite simply a superb show from the entire cast and the best ever Billy performance that I have seen. Olly was in a class of his own. 105 Oliver Taylor in BETM: Dossier
jacob 15 days since your last performance. I really miss you Olly. The first time I saw you was a matinee for which Travis had been scheduled. You dropped the chair when you tried to twirl it and then promptly fell over yourself! Afterwards a friend asked me for my opinion of your Billy and I said that you were really, really great. And you were. It has been such a great pleasure to watch you develop the role and gain in confidence. You thought a lot about the emotions and conflicts within the character and this led to a deepening in your dramatic interpretation of the part. The balletic scope in BETM is limited by the choreography and the stage size but this aspect of your work has drawn tremendous appreciation in the Reviews thread. A lot of detailed praise has already been sung and I will not add anything further. The new ballet shoes helped too! Miss you.
Remi
106 Oliver Taylor in BETM: Dossier Different Billys & Olly
VaRus We know that an important part of BETM's enduring appeal is that shows with different "Billys" are different. But what exactly that "different" means for each particular Billy? Obviously, they have had not only varying dancing, vocal and acting qualities and skills but also different personalities. So some numbers - especially "Electricity" but possibly some others too - were performed slightly (or strongly) differently. In what aspects? What is even more interesting: what about the whole interpretation of the title role by different performers? I suppose some Billys were angrier, some - sweeter, some were gentle, some - tough... Accordingly, shows with different Billys evoked different emotions and thoughts from the public... Or not? Is it possible to outline some distinctively different interpretations and to characterise their effect? Personally, I am not able to answer these questions: I am actually neophyte and have seen just one particular Billy (although, a number of times).
Todd Interesting questions Valery. One could probably write a term paper for school entitled "Comparisons and Contrasts of the various Billys in Billy Elliot the Musical" and get detailed enough to make it quite a long read ! I won't attempt to delve into each Billy I've seen, particularly since there are people here who have seen many more performances than my paltry 11. Nor have I seen all the Billys, including Oliver whom you are already familiar with. I will, though, offer some thoughts on a few of the ones I've seen who have left a particularly strong impression. I think when you see the show for the first time - particularly if you've seen the movie - you have a preconceived notion of what Billy should be like, what Mrs. Wilkinson should be like, etc. For me, the one who came closest to "being" Billy was George Maguire. What I particularly liked about his performance was that he seemed far from being a London child actor, but rather had that tough, working-class attitude about him that looked like he had been plucked right off the streets of Easington. At the same time, he had loads of charisma and personality in scenes such as "Express Yourself." Probably the best place to see this side of him - in my opinion - is on the video clips of "Ready, Steady, Cook" where he appeared with Leon Cooke. Add to that a gifted singing voice and amazing dance skills and you had an unforgettable Billy. A somewhat different interpretation of the part that I also loved was Colin Bates. Colin did come across more as a show-biz kid and had a more flashy, demonstrative style to his performance. In discussions of him at the time he was in the show, some people referred to it as "playing to the back of the theatre." Rather than going for a more subtle touch, he was very outward and commanding on the stage. But the one time I saw him, I remember being drawn to him wherever he was on the stage, so attention-grabbing was his talent. Charisma and dancing skills are the two things I remember most about him, as are evident in the promotional video from the show where he appears with Sally Dexter and Shaun Malone. I could go on with several others, but I don't want to bore anyone so I'll stop and look forward to other people's comments on the subject . . . .
bobbyswfla I am one of the fans who is severely deprived, since I have only seen Liam, George, Leon and Corey. One could not find four more different boys, yet each created portrayals to be treasured. I think there was a conscious decision, perhaps even before the first auditions occurred, to direct each Billy as if he were in a different show from the others. Of course the structure was the same, except for the specialized Electricity choreography, but Daldry tried to match an interpretation, to some degree collaboratively, to the presenting aspects of the individual boy. The director often learns a little about a role from the actor. They are not confined by "One must do it this way" thinking and naively uncover some very useful ways to be Billy. With Liam, there was a quite young boy who was shy and deferring to elders, yet quietly defiant. His discovery of dance seemed less a personal revelation than a conscious acceptance of what he knew deep inside. His love was gentle. His affection for Michael quiet but loyal. His passions seemed controlled, but when he danced, he took over the stage. The swan analogy was incredibly apt. George was feisty, full of humour, excitable and personally insecure. His mourning of his mother seemed to be badly unresolved and not easily shared. He gave us ambivalence with Mrs. W. The sense of suspicion and interest in what she was proposing in the toilet scene was well-expressed, but George seemed to badly want to be convinced. In the Angry Dance George just stands tapping at the top of the stairs, like a fuse was burning into one of the most explosive, poignant, lonely and disheartened portrayals I have ever seen in any theatre context. And his ending of the dance told us how mercilessly betrayed he felt. In contrast, George seemed like such a fulfilled creature when he succeeded in dance. His exuberance was contagious. He was a symbol to all of us.
107 Oliver Taylor in BETM: Dossier Leon was subtle and contained. He covered his insecurities, sense of loss and loneliness in a suffering family with a veneer of playful indifference. This sets the stage for Leon to grab the audience and pull us to his side when he stands beautifully with the incredibly touching pose and at the peak moment says: "Chin". I was won over and saw Leon gain confidence and drop the superficial pretense of contentment. He was not dismissive, just cautious. It worked beautifully. Corey seems to be a curious Billy, who adapts to the terrible situation in the family and the community by taking flight in just being a boy. It is as simple as that. He lives a parallel existence that cannily avoids pressing the wrong buttons, until Mrs. W takes him on and confronts him. Then he gives her as much as she dishes out, allowing Corey to make us all want to back him up. He is a complex boy with his own needs but a growing desire to belong to something to be extraordinary. He is such a complete package of dance, acting and singing skills, but his relationships with the cast raises their game.
rainbow84uk Wow this is a really fascinating post and I'd have to give it a good think before replying. I saw Liam, Matthew (once each), Dean, Corey and Layton (two or three times each), Leon, Colin (a lot!) and Travis (the most of all!) and loved all of their performances in different ways. The only ones I feel 'qualified' to talk about are Colin and Travis, and my opinion of Colin is so similar to Todd's that I won't add anything just now. For me, Travis was 'my' Billy, the one who fitted almost perfectly into the Billy-template in my head, if you will... He had a really lovely singing voice with a beautiful vibrato - I'd get chills every time he started to sing his opening lines - and he often put emphasis in slightly different places to other Billys I saw, which seemed to pick out tiny details so well and really make you listen to every word of every song. His acting was so subtle and so in tune with how I imagine Billy to be. His Billy came across as confused and angry, embarrassed by his feelings but with an amazing smile which appeared when he let himself go and forgot his inhibitions for a moment. In numbers like Shine you could actually see his Billy get swept up in it, then suddenly realise what he was doing and pull back again, looking disgusted. And the look on his face at the end of Solidarity or Electricity just made me feel so proud of him somehow - you seemed to see every step of the way just how hard it was for his Billy to get to where he did, and to be right there watching when he finally nails it. He perhaps didn't make it look as effortless as some other Billys, is what I'm saying I guess, and I enjoyed his performance all the more because of that. For me his Letter scene sort of summed up his Billy, and it was exactly how I felt Billy should be in my mind. He very rarely cried, but the expression on his face and the pain in his voice were worth buckets of tears, especially when contrasted with the joy of his smile when his mam first appears. Then in between these two emotions, he had a wonderful look of defiance, as if fighting to control his feelings and at the same time daring you to make fun of him. He was everything I wanted Billy to be and more, for all those reasons. Look forward to reading other people's versions of how they saw Travis' Billy, and their definitions of other Billys whose performances I didn't know so well.
MusicalAddict Lauren - that brought back some amazing memories and really described Travis beautifully. Ditto Todd about Colin! It is funny because it is the differences that will draw people towards a certain Billy. I think everyone can agree that all the Billy's are amazing but for each of us a certain Billy will have something that endears them to you that little bit more than another. It's just the way it is. Colin was my first Billy and really grabbed me from the start in exactly the way that Todd described. Then after a few shows I saw Travis and the result was a certain quote that I believe Alan posted on here in a review. I loved Colin on stage but Travis for me was Billy. It didn't mean that I preferred watching one over the other just that there were different reasons for watching. I'm sure everyone will have tiny differences that make them enjoy each Billy's performance and what draws one person in might have no effect on another. So not only is it the differences in the Billy's but also the differences in each person watching it. We all have different taste and likes and dislikes and that is what makes this show so interesting and compelling because it touches so many different people.
rainbow84uk Spot on! Also I love the way each Billy can determine the mood of the show to a certain extent, partly down to his portrayal and partly down to each individual performance. Layton and Corey´s shows for me, for example, were so outrageously funny that I have very little lasting memory of the sad parts - what I took away was sheer joy. Other Billys maybe came across more angry and hurt, and I took away more of the sadness of the show from their performances. Maybe in a way my "special" Billy is the one that most appeals to all the highs and lows of my emotions - which of course, he may well not do for many, many other people.
ErinVA
108 Oliver Taylor in BETM: Dossier I would add to all this that the Billys' interpretations also tend to change a bit over time as they mature and gain a deeper understanding of the role. I had the privilege of seeing this happen with Leon Cooke, whose Billy I saw at approximately 6 month intervals over the course of his run in the show. Just as his dancing became more powerful and nuanced, so did his interpretation of Billy. By the time he was late in his run, his Billy, for me, had a quiet determination about him that made perfect sense for the teenager he had become. His letter scene was a marvel, because I could just see how his Billy was fighting not to let Mrs. Wilkinson in, but in the end, he couldn't help it. He never dissolved into floods of tears, but a few almost surreptitious swipes at the eyes with his hand said it all. Bobby commented about Corey's Billy leading a parallel life. I think that phrase aptly describes Leon's Billy as well. Leon's Billy had his own agenda and was determined to accomplish it, regardless of what Dad and Tony and the others were doing with the strike.
Todd Like Ellen, I've been fortunate enough to see several Billys at 6 month - 1 year intervals. Of those 3, Travis Yates' growth in the role was the most interesting for me. When I saw him the first time, he was the youngest Billy and when I saw him a year later, he was about to take over the "senior Billy" role from Leon. The first time (June, 2006), he showed the acting and singing gusto that were to be part of his portrayal during his long run. But after having just seen Liam, Colin and Leon, Travis almost seemed like the "kid brother" to those 3 old pros as I felt that he hadn't developed his performance like he would eventually. When I saw him a year later, I was like, "Wow, is this the same kid??" His confidence - due to experience and extra dance training - was very evident. I remember going back to my hotel after the show and getting on the computer to write a review on the Forum here and specifically remember writing, "A great night at the theatre thanks to the amazing Travis Yates!"
rainbow84uk I didn't see Travis early in his run, but even in the relatively short time that I saw him (around 6 months from late 2006 to June 2007) he seemed to grow up immensely and gain a new air of confidence. In fact, there was around a month in the middle of that time where I didn't see him, and the difference between before and after was jaw- dropping! Before he had been struggling with his voice a little bit, and when I next saw him he'd had his keys lowered and his singing was better than ever. I suppose it was a combination of this, of his growth in height and physical strength making him stronger in his dancing, and of his upcoming position as senior Billy which all came together to give him this new air of confidence and strength. Before he had sometimes looked doubtful before a move, and hugely relieved when he pulled it off... But after, he just radiated self-belief - it was amazing to see the change in him. With other Billys, I didn't see them so much, or only at the start (Layton, Corey) or end (Colin, Leon) of their run. The only other huge change I saw was in Dean, who I saw in his first week, and one of his last ones. The first time I liked his performance, but the second time he was Billy.
Irishboi Since he hasnt been mentioned yet I will try (I say try because im not as good with words as some who have written on this thread already) to describe Josh's Billy. If you were going to the show for the first time and knew nothing of the boys who were playing the part and only had the movie as a reference then Josh would not be far off what you would have in your mind as the boy Billy. From the moment he appears on stage you can sense a very "Josh specific" energy from him. He is gaurded and almost melancholic at times and seems ready to defend himself at all times. It is clear with Josh's Billy just as it was with Jamie that this is a sensitive boy who is at odds with his surroundings yet at the same time influenced by them. There is a toughness about him that only seems to soften when he is in the company of Nan or his best friend Michael, only then does he allow himself to smile. Actually if you watch him closely his facial expressions change depending on who he is with. With Tony or Dad or George he seems almost ready to fight, with Nan and Michael he is much more relaxed and comfortable. Josh is an incredibly talented actor, to the extent that he at times overshadows his cast mates and it is noticable that he reacts to every thing going on around him. I have seen him 3 times and have sat close each time, front stalls B15 twice and row D stalls the other time and watching his "reacting" to everything around him is quite awesome at times. From the first sight of Josh you can almost sense the energy within him. He seems really tightly wound throughout the show and you are almost waiting for it to explode, it does noticably during Andry dance which is really angry indeed but for me he completely lets loose during Electricity. I am not in the business of comparing the Billys as dancers but we all know that their choreography for Electricity is different and for me Josh's is as close to perfect as you will get. It is a beautiful mix of Ballet street and acro and really does take your breath away with its intensity.
hedge_hog
109 Oliver Taylor in BETM: Dossier Well said Irishboi. I think Josh's strongest point apart from his marvelous dancing is his acting. When describing him earlier in my reviews I tended to call him a 'natural' Billy. He reacts with such naturality to the smallest events happening around him at all times in the show.
Todd The one … whom I did get to see that I can offer a few comments on in Layton. I loved basically everything about his performance when I saw him last year. The thing I remember most about his show was that it was the funniest "Billy Elliot" show I have seen. I loved his facial expressions and reactions to the ballet girls when they were pushing him around, and his reactions to Michael in the scenes he played with him. They were usually just subtle things like the raising of an eyebrow or a curled lip which seemed to say, "What is your problem ?" or "How did I get into this mess ?" You got the feeling that Layton was focused for the entire time he was on stage and never once took a mental break, as he reacted appropriately to every situation that Billy came across during the show. His singing was very tuneful and on-pitch, and his dancing was superb, especially his "Electricity" dance where he ended with a wall flip. His version of Billy was rather sullen, which makes perfect sense to me since Billy's difficult situation in life at that particular time didn't offer much to smile about. Another unique feature to his performance is that I remember him making lots of eye contact with the audience, at least those in the first few rows that he could see. I happened to have a Row B seat that night on the aisle so I was right there when he hopped off stage with his suitcase at the end. He looked at me as he was turning around with his suitcase to walk up the aisle, which is something I haven't seen the other Billys do, as they usually have their head down. Not sure if that's a regular thing with him or if it just happened to be that way the night I saw him. At any rate, I found him to be an excellent Billy and am glad he's gotten to have a long career with the show, since it seemed like he was in training for almost a year before he started performing in February of '07.
JW Here's a pared down list of the many things I'll miss about Olly's Billy. The way he stumbles past Dad in Stars Look Down, gives a dirty look and mouths a feck off at Tony and sits slumped in his chair. From the first few seconds of his appearance on stage, the audience immediately get a glimpse of what's to come from this particular Billy. Slouching, head down, you get a feel for the weariness and sense of isolation he's going through. It's mysterious. It's intriguing. It doesn't give everything away but it gives you a tiny hint, and makes you sit up and take an interest in the reasons for his current state. The first moment where you hear Olly's Billy sing those words "Take me up, and hold me gently..", his voice - sweet, high, and pure, the very gentleness of the voice rising melodiously over the literal darkness of the stage and the metaphorical darkness of the strike - a stark contrast from the insolent boy we saw stomping past the miners. He takes up their tune, adding a sense of expectancy and longing to their song, his voice filled with hope. From the almost tentative start with Billy looking at the ground, he slowly rises, and then as he reaches the line.."will come a day, when we will fly"..his previously gloomy expression is lightened by a faint smile - a hint perhaps of the sensitive soul hidden beneath this guarded exterior, and also a logical link between the day he flys and later in Electricity when he says that he's flying like a bird. I'll miss the charming way Olly sings "b-ah-kk to our home." The hard 'a' sound followed by the crips 'k' consonant in the word back. Incredibly charming. The pretend annoyance he shows when Dead Mum stops him from drinking out of the bottle. The way he would half-smile, half-laugh shyly as he sat down in the chair gazing at his mother and then looking away in embarassment at his own feelings of affection. The way his Billy acted in Shine. His determination at getting the key to Mrs Wilkinson. The false bravado he shows at the end with the fan. The slight tilt of the head, the droll expression on his face, the faint huff as he walks away from the group even before the applause has died down. His handling of the scene with Grandma. The absolute subtlety of the way he interacted with Grandma in Grandma's Song, with the smile as Grandma sang the line - We'd go dancing. The indulgent look, and the sincerity of the smile with which he gives her as she dances with the men in her imagination, and the very faint smile at the end, as he takes her hand in his, she lays another hand on that, and he again lays a hand on top of that. I'll miss his temper in the post-solidarity scene with Dad. The way he screams out "You're supposed to be encouraging us to do thing" gesticulating furiously. You get for the first time perhaps that he's unsure of Dad's love for him - something which he makes a recurring theme throughout the rest of the show. The quiet, menacing tone he adopts as he approaches dad, whispering that he hates him. The fidgeting about with his hands, his clothes, the slow, tentative responses, the hesitant pauses, in his conversation with Mrs Wilkinson later on. He's embarassed that she had to see the dirty linen of the Elliot family and he's also embarassed that he really did want to do ballet. Did the argument with his Dad make him doubt whether ballet was indeed a suitable activity for the male gender? The heartbreaking way he sings the Letter. The way he would smile when he saw the apparition of his Mum, the hands on the chair and the way his body would lean forward as he gasped while Mum makes her first initial move away, then the disbelief as he realised that she wasn't actually moving away but coming towards him. The way he
110 Oliver Taylor in BETM: Dossier held both her hands in his and the pause before the embrace. The force of his embrace which propels Dead Mum backwards, and later the way his outstretched left arm would leave him there forlonly and the long silent pause before he choked out the line, love you forever. I'll miss the embrace between Billy and Mrs Wilkinson in the scene just after Born to Boogie. Like the Billy/Dead Mum embrace in the Letter the sheer force with which Olly puts into it propels Mrs Wilkinson backwards slightly. I'll miss the smile of relief on his face as he delivers the line, "Don't worry Miss, I'll put me alarm on." The way he would throw his bag on the ground in anger and weariness as Mrs Wilkinson makes her appearance at the Elliot house. The way he would go up to her and insert her hand in his. The way he would declare, "I don't want a childhood. I want to be a ballet dancer" as if it were the most magical thing in the world, sharing a look with Mrs Wilkinson at the same time. Watching Oliver himself say that, you couldn't help thinking as he said that - you ARE a ballet dancer. I'll miss the way his voice rises above the melee of Merry Xmas Maggie Thatcher, reaching the highest notes of that final verse of Deep Into the Ground with such ease, sending my spine tingling at the sheer beauty of the phrasing of "love these dark, dark hills forever." The smile of delight as he interacts with Older Billy in Swan Lake. The way he would curve his body into that perfect picture of gracefulness as he performed on the wire, and finally that perfect tour in the arabasque position which he handles with complete stability. No extraneous movement at all. The way he would grab posh boy by the collar of his shirt with his right hand and use his left hand to slam his head against the safety curtain. That look of self-disgust as he realised just what he'd done. I'll miss the way he would hang his head in the interview with the audition panel refusing to look at them or Dad at the question regarding whether Billy had the support of his family. The way he would look solemnly at Dad after Dad's positive reply. The way he'd hold out his arms to Dad post-Electricity expecting an embrace but getting his belongings in return. The look of anguish on his face, causing him to run out of the room. I'll miss the way he says, "Well Bye Bye", in that ridiculously endearing way of his in the Goodbye Scene with Mrs Wilkinson. The fact that he couldn't bear to even look at Dead Mum as he sings the letter reply. I'll miss the way Olly handled the final kiss and Goodbye with Michael. The walk away from Michael, then the sudden halt, Billy turns and faces Michael and in a small, low voice says See ya Michael, then walks away without awaiting a reply. He walks away from the town without so much as a glance back. I'll just miss Olly's Billy. That remarkably complex and enigmatic portrayal of Billy which has moved me so intensely. The subtlety, the sensitivity, the fragility, the absolute and total understanding of character. Yeah, I'll miss his Billy. Bye Bye Olly. I don't know what else to say.
Lina Olly, I hope you have a great time at the theatre today. This post is my feelings for Olly's performance. Firstly I would like to apologise you might be hard to read it because it is quite long and there might be lots of grammatical errors. I hope you will sense my excitement. I have written hardly any post on the forum for a long time because it was very difficult and took a long time that I explained in my poor English exactly what I felt from BETM I saw. However, this time, I cannot help writing how impressed I was by Olly's performance especially his ballet on the 1st December. (If I could I would love to write of my thought on his acting and interpretation of Billy, but for me, too difficult to explain it in English. I would like to just concentrate to write of his ballet.) I had only seen Olly's performances two times until that day. These were in September which was my trip from Japan. His Billy that was really sensitive, subtle, fragile and gentle struck me. Also I was so impressed by his ballet, his sincere love to ballet. (Well... I was a ballet dancer, though I left before becoming a real professional. I had been training for the ballet from 5 to 23 years old in Japan and France. So I am a bit sure I might have a observant eye for it.) At the time, some people said that his ballet had not had lithe movement so much. Yes indeed, his arm movements were a little bit stiff, I suppose it might be his habit and fault. However for me, it was very small things. I was just excited and impressed by his ballet. I guess he must have been taking really good lessons for the ballet in his home town. He had the good basis in ballet. Also he knew how to show himself in ballet on the stage. He danced using his whole body, not only arms and legs but also from his centre of body. Particularly in Swan Lake, I felt he looked bigger than himself. His dancing was full of happiness to dance. It was so beautiful. How strongly I wished I could keep seeing his performances. But it was impossible dream since I live in Japan now, I don't live in London any more like before. I didn't expect he would leave so fast. So I was upset when I found his official last performance would be on the 1st December. I thought I have to go and see his performance once again. However I couldn't take my long holiday to go to London, I stayed there only four days, yes actually it was too hard trip physically. However now, I am happy from the depth of my heart that I was able to see it.
111 Oliver Taylor in BETM: Dossier Yes it was sooo emotional show and his really fragile acting and very beautiful singing were truly phenomenal. But what I was most impressed by was his ballet. Firstly, his movement after Shine (before he shouted "Granma!") was very gracious and forceful. He moved concentrating all his nerves on his arms, legs and body. He seemed to realise he began to love the ballet as Billy. His movement had very profound meaning in the musical. I felt Olly said "I wanna be a ballet dancer.". That scene is very important to me, because it shows that something about ballet grows in Billy's mind. I think Olly also understood it was important scene for Billy. And then, at the end of Solidarity, I was just moved by his happiness of dancing the ballet. His big big smile and joy strongly struck me. I felt the theatre was full of happiness. I have never experienced such atmosphere at the theatre. I couldn't help feeling my excitement. He showed how much he loved the ballet in Swan Lake as well. His poses with the wire in the air was so beautiful and gracious. Yes there were so many highlight for me, but at his ballet, Electricity was the most impressive scene. I didn't expect that I was able to see such beautiful and authentic ballet from BETM. It was the most genuine and glorious ballet I have ever seen in BETM. (I have seen BETM so many times since September 2005, and have seen all of Billys.) Only three months passed from when I saw him before, but his fault of arms had been set straight and his ballet had improved so much. It was only three months, I couldn't believe it! He must have trained so hard. Also he did some really difficult "Pas"(movement). Especially "attitude fouette(turn)" he did after Fouette two times was absolutely great, fantastic and perfect!! It is really really difficult but my friend who has seen his performance so many times told me it was the first time he did in Electricity. He must have been nervous but he did it perfectly. I can't believe it, he is only 13 years old. Also his Arabesque, Jete and Chaines were so fabulous and amazing. I really loved seeing his move for preparation for last fouettes. When he did "A La Seconde" slowly and carefully from his fifth position of legs, I felt like the clock stopped for a moment. That moment cadenced his Electricity. During Electricity it was blissful moment. Through the performance, every his movements had some sort of meaning. Hmm sorry I saw it with my heart, not see with my head. So it is difficult to explain in word... I think he did it on his own will. He danced like drawing a picture in the air, like making a story and like singing a song. I think Matthew and Olly both are not only beautiful dancer but also can capture audience's heart. Their dancing bring something to our mind. I think Matthew's dancing was soulful and inspiring, and Olly's dancing was fascinating and appealing. For me it was really pleasure to see their performances. I was thinking why I so love their Billy. And then I found it is because they were not only very sensitive actors and stunning singers but also dancers who love ballet genuinely. I think Billy is in chaotic state, and feels sorrow and grief every day. However he finds a ray of light in the darkness in his mind. The ballet brings to him such joy, happiness, contentment and freedom he has never felt. Billy loves ballet genuinely. And Matthew and Olly were the same as Billy. They have sincere love to ballet, so they know Billy's feelings exactly, I guess. I felt I was struck with their joy to dance. Oh this post is too long... sorry but, one more thing, I would love to add. It was the first time I cried to see Angry Dance. How emotional it was. His heartsick tap and sequence with gasps were full of sorrow and pain. I felt a constriction in the chest. In the interval, I couldn't stop my tears, because I was just sad that I would never ever be able to see such an incredible Angry Dance. When I saw his dancing photo before he debuted, I thought he must be a beautiful dancer. He looked like a "danseur noble", so I guessed he might be a dancer who can only dance beautifully. But I was wrong. He is a ardent dancer who can explain his burning emotions and also his very sensitive emotions by dancing. He is such a marvelous dancer who can move audience's heart. As dancer, his choice that he will leave from BETM so fast is right, I suppose. Particularly for kid dancer, the right training during growing and developing muscularly is very important. I guess the experience that he performed in front of a lot of audience as a leading player would make him a greater performer, and he must have learnt many things from it. For those reasons, I am sure he is going to be a great ballet dancer, like he said that "I wanna be a ballet dancer.". I have only seen Olly's performances three times. However I will never forget them. As a fan of BETM, being able to see his Billy was a huge happiness. And also, as a fan of the ballet, being able to see such a gifted dancer was deep delight. Olly's ballet make me happy truly. How I wish I could see his truly last performance as Billy today. But I am not there. Dear Olly, all the best wishes for a bright future. I very look forward to seeing your ballet pieces some day.
JW That was beautiful Lina. I'm not a dancer nor do I have much knowledgeble appreciation for dance in general apart from being someone who appreciates beauty in all its forms, but I feel like I can completely understand what you are expressing. Perhaps it's the numerous times I have seen Oliver, but when you speak of Olly dancing not just with his limbs but with his whole body and soul - I can certainly see where you are coming from. Physically each gesture starts from his very core and travels outwards (those who have watched him will have seen him dance in Solidarity where Billy and the ballet girls dance in a row. I remember particularly the dance move where Billy is kneeling on the ground with both hands travelling in a circular motion - Olly's entire torso moves with him). It does, 112 Oliver Taylor in BETM: Dossier as you say, make him seem bigger than he actually is. I've always thought from the very beginning that the VP stage was too small for Olly and wished for a bigger stage for his performances. It's not just that he engages his arms and legs when he's dancing - he uses his head as well, looking and following the dance move. This was (it feels odd talking of his Billy in the past tense now) especially obvious in Swan Lake, where his gaze would follow his arm to its completion, drawing the viewer's attention and making us follow his move as well, so that we too see the move from its initiation to its completion - I'm not eloquent enough to explain this rather distinctive characteristic of his, suffice to say, it had to be witnessed for it to be fully comprehended. Lina, I wish you could have seen Oliver's dancing today. Especially in Electricity - his dancing was simply magnificent - with the addition of more rythmic percussion notes to Electricity his dancing truly, truly shone. It wasn't techinically perfect, but it literally glowed. For the first time, I felt that Olly was a truly edgy dancer. There was an incredible power, and an awesome and fearsome masculinity. In the months he has been in Billy, Olly has grown from the gifted child ballet dancer he was, into (most especially obvious at his final show today) the true male ballet dancer he is today. Still distinctively Olly with his lightness and graceful elegance, but today he seemed almost cutting edge - burning with a rawness, a passionate intensity, a paradoxical combination of the contemporary and the classical. His leaps were astounding, his ending with his attitude fouettes truly spectacular. But more than just the wow factor that Oliver's dancing has - the plain fact of the matter, and the most impressive aspect about it is that his dancing is incredibly, incredibly moving. It wasn't just the great feats with which he was showing us, it was the feeling of freedom, of unbridled joy with which he is infused with when he dances, and the extraordinary ability he has of sharing it with the audience such that we too experience what it's like to be free. With regards to Oliver the dancer, I feel that these lyrics of Electricity capture his dancing perfectly - like a fire deep inside, something bursting me wide open - impossible to hide, and suddenly I'm flying, flying like a bird... Whenever I heard him sing those lines, I felt like Oliver himself, not through any special method of line delivery, but through just being himself has given those particular words a depth and a meaning. For me he dances, not like the archetypal bird of the ballet - the swan, but for me he conjures up the image of the eagle. Regal, strong, powerful, soaring through the air, zooming past the rough terrain, bringing both fear and awe to all in his way. No more was this in evidence than it was today - it was Olly the eagle - that great, mighty, powerful beast of nature, who made my heart pound and my muscles tense in Angry Dance, who made me giggle uncontrollably in sheer delight in Swan Lake, and finally that brought the entire front row of the Stalls into a standing ovation at the end of Electricity and at the end of that ovation left me slumped in my seat, sobbing, nearly heaving with a mixture of overwhelming gratitude, joy, grief and inexplicable pride. Lina wrote: I think Matthew and Olly both are not only beautiful dancer but also can capture audience's heart.
I think you've hit the nail on the head with this one. It's not about being technically proficient - although I have little doubt that they both have good technique, or having the fastest pirouttes, or who can do the most number of fouttes in continuous succession. Those add to the wow factor, and it's for me perhaps a very showy way of dancing. The thinking dancer I feel, dances first and foremost for himself - for the way the music makes him feel, the way the notes in a piece come together and practically compel the dancer to move. And it's this love of dancing, as opposed to any other love of say, appreciation or applause, which come across most powerfully and this has a knock on effect on the audience - the dancer loves dance, his love of dance is so great that it spills and overflows, reaching out and not just touching but grabbing the audience full-throttle such that we too learn to love the dance. I think Matthew and Oliver have this very special gift. With them it truly isn't "just about the steps," it's first and foremost about them and the effect that dance has on them. It's not just about the dance being pretty. Pretty is too blase for them. It's nice. It's average. For them, what is more important is that the dance is moving. It's as you say, about telling a story, about imagining another world, about creation and specifically for Billy, about salvation and redemption. With Matthew and Oliver, the dancer serves as the medium, the bridge, the interface between the mundane and the exquisite, the ordinary and the extraordinary. By expressing the entire gamut of emotions from agony to ecstasy, he raises us up from our humdrum existense and gives us a glimpse of the divine. He therefore becomes the gateway by which the viewer enters into a numinous, even transcendent experience. I guess this is what is meant when a dancer is spoken of as ethereal and other-wordly. The dancing is mystical, the imagination let loose, and it's as if the dancer is in communication with some Higher Power. I think its fair to say that those two have captured these feelings and expressed them in a very intense and excitingly acute way. I can feel it in my heart.
bobbyswfla Lina and JW, I am furious with you both now! I was letting my regret for never seeing Oliver gently recede. I had grown less ticked off for missing Matthew. Then you two tag team the descriptions of these fine dancers, singers and actors, metaphorically slamming me against the riot shields. I always know I have a treat in store with the reviews by both of you. I regret that Lina is no longer living in London, keeping me revved up over this great show. Thank you both for describing so beautifujlly the artistry of two incredible young talents.
113 Oliver Taylor in BETM: Dossier JJF I echo JW's sentiments. I am so glad I have been able to see so many of Olly's performances. If you were to ask me how Olly's performance makes me feel, I would have to quote from 'Electricity'. I can't really explain it, I haven't got the words. It's a feeling that you can't control. Olly is the only Billy to leave me walking out of the theatre after the show physically shaking from the emotion of watching his performance and on more than one occasion. He is also the only Billy to leave me totally lost for words - literally unable to speak. I will add, that his angry dance was probably his best yet. I for one will really miss this Billy. Pass me the sniffly kit.
Malcolm I felt extremely privileged to have seen Oliver's stupendous - I can only call it that - performance on Saturday. It was simply mind blowing and probably has to rank as the best show there I have ever seen. And I have seen a lot! I was privileged to have seen him perform eleven times in all, no where near as many as some folks on this Forum I know, but to see him growing in stature during that time (dancing, acting, singing) and culminating with such pure quintessence on Saturday was simply unforgettable. Thank you Lina, JW and others for your comments above.
johnnyc And to think I badly misjudged the boy the first time I saw him. It wasn't until his last official show that I realized how wrong I had been. It was Ollie's early "super angry Billy," with his, I thought, over the top outbursts that I disliked. It was only after Ollie mellowed a bit that I was able to see and appreciate, almost too late, the fine artist that he is. Knowing then that I would never see another Oliver performance was almost too much to bear.
JW Was it that Olly mellowed or toned down his interpretation or that we perhaps became slightly more acclimatized to his interpretation on second viewing, given the fact that not only had we seen him previously, but also perhaps that others have written about him and perhaps explained a little more about his Billy? Is it not also possible that Olly's greater confidence and improving stagecraft as he progressed during the show allowed him to pull of his original interpretation in a more assured manner - without this mellowing that you speak of? I saw Olly on both his first performance, and his last and as many will have ascertained by now numerous times in between and I wouldn't necessarily characterize his interpretation of the role as mellowing. Adding even greater depth and texture, yes, but not so sure that it was as 'one-directional' as the word mellowing seems to imply. But then I again, I don't think that all Billys will necessarily touch us in the same way and I think those who wished for a less dark, slightly more whimsical portrayal are perfectly justified. Perhaps it suits the temperament and their background better. I've always felt that our favourites say more about us than it does about the skill of any particular performer really.
Irishboi Not sure I would necessarily agree with that. The two Billys whos performances have resonated with me most have been Joshua and Corey and they couldnt be more different. For me I look for believability as Billy. I wouldnt believe a Corey who stomped around the stage angrly and agressive and I couldnt believe an Olly who smiled and was all sweetness and light all the time. What I love about this show is that all the boys bring something different to the part and without exception I have enjoyed watching each one of them for what they bring. I see the show differently depending on who is Billy. I have never really bought into the claim that Olly is an angry Billy anyway. Ok I have only seen him twice but for me he was a very gaurded Billy. A Billy who has been hurt and has created walls around himself. A Billy who puts on a front to deal with the crap of having his mother die when he was so young, of being bullied at school and of feeling "different". His self defense mechanism is to be loud. His relationship with Mrs W shows that he is a boy who wants to be loved and wants affection he cant get in his male dominated world. The scene when Mrs W comes to the house when he doesnt show for the audition and he stands behind her and holds her hand speaks volumes for the kind of boy this Billy is. He is a hurt Billy, an upset Billy and a grieving Billy. Not necessarily an angry one.
Lina Well... this is my opinion, I am sorry but I can't really understand why you say Oliver's Billy was "an anger Billy". Yes indeed, sometimes the tone of his voice was not soft on his lines. However his eyes were always with sorrow and loneliness, or gentleness and tenderness except when he was dancing. Also his lines were sometimes very touching, extremely gentle and fragile. I have never been feeling his anger from his Billy even in Angry Dance. Yes I know this is just my opinion, and might be different from yours. I just wanted to say it. BTW, This is a bit late, but I would love to say thank you to the following friends.
114 Oliver Taylor in BETM: Dossier Bobby, thank you so much for your message. I believe we will be able to see Matthew and Oliver on stage in the future. Dancers would sometimes encounter physical dilemma and mental suffering in their life. Dancer's daily work is not glamorous like a star of WE, they just need to practice and practice everyday. They need to overcome to and conquer themselves. Being a dancer is a struggle with himself. They needs to have very strong mind to become to being a true dancer. I think Matthew and Oliver have it. Also I think they know what they really want to do. I know we will be never able to see them as Billy in their special time when they develop from a child into an adult. However I am sure we will be able to see them again soon on stage some day. So please don't so regret you were not able to see them as Billy. Justin, thank you so much for echoing my thought. Your comment remind me of "Nederlands Dans Theater III" and "Maya Plisetskaya". It is almost 10 years ago I saw them, but I remember as if it were yesterday. I thought I saw "art", not "dancer" on the stage then. "Nederlands Dans Theater III" consisted of dancers over 40 years old and Plisetskaya was over 70 years old when I saw her. Of course they were not able to move and didn't have sharp techniques like young dancer but I was far more impressed by their dancing than the other young ballet dancers. Every time they moved their arm, it was like seeing process of drawing a picture. I felt like they had sublime aura. Although there was no word on the stage of course, I felt a story, meanings from their dancing. As for ballet, I think there are a lot of ways of enjoying for seeing it. Gorgeous sets, beautiful costumes, fantastic music and stunning dancers who have great techniques... I love seeing all of them, but when I saw their dancing or movement I was just shocked. I thought this was a real dance. There was a real soul of dancing without frills. After that, I lost how I should dance for a while. I believe Matthew and Oliver will be dancers like them in the future. They all are the same kind of dancers, I feel.
Phooey i see oliver as an angry billy merely because of the way he recited each of his lines - they were short, clipped and full of anger
Irishboi Was he angry and cliping his lines when he said "you too miss" and touhced Mrs Ws arm during the goodbye scene? Or when he held her hand during the you missed the audition scene? Or when he hugged grandma after her song? Or when he broke down during the letter scenes? Ollys Billy is angry when he needs to be but is so very gentle when he has to be too. Its simply not true to say he was short clipped and full of anger when he delivers all his lines.
JJF Phooey, I think it is fair to say that we all have our own view of what Billy should be like and therefore prefer different Billies. The world would be boring if we all liked exactly the same things. After all, "what we need is individuality". Having experienced alot of what Billy went through during my own teenage years, Olly's Billy is one I can relate to. I found his Billy to be more isolated and frustrated than angry. The anger coming from the frustration. I also found warmth in his Billy, as well. I also felt that his Billy desperately wanted affection but was so scared of losing the the people he loved that he was not always able to show or receive affection easily. I agree that the actor makes a big difference to the interpretation of the role. Corey wouldn't be Corey without the smile and Layton wouldn't be Layton without the sarcastic facial expressions. Each makes the role their own and therefore we will prefer some interpretations to others. It's no different wether it be the role of dad, Tony, Mrs W, Mr B, Michael, Debbie, George or whoever. I will finish by saying that having met Olly several times, he is a wonderfully charming, modest and caring young man and I wish him well for the future.
ErinVA Before I saw Olly as Billy, I had heard the phrase "angry Billy," so I found myself surprised. What I saw was frustration more than outright anger and indeed, a range of emotions from frustration and occasional outbursts to the sadness and desperation that JJF has described.
bobbyswfla It is a testament to his skill that it all has inspired this interesting discussion. One of the satisfying things about Oliver was living up to the expectation that he would be extraordinary as a dancer and a singer. I was convinced from the videos that preceded his debut that the young man not only had a solid grasp of dance fundamentals, but showed a remarkable grasp of the aesthetics of dance; the color consistant with the music and the weaving of a visual story. I was inclined to concede that Oliver came on the scene with solid vocal skills and didn't need remedial vocal coaching. 115 Oliver Taylor in BETM: Dossier It was in the area of acting that I made an assumption that seems at odds with what has been reported to me. Even though he may decide to place his career emphasis in the direction of dance, Oliver has made believers of his cast colleagues. This story matters to him and he felt obliged to do service to the character he was portraying. The best thing that ever happened to acting nuance and subtlety for musical theatre was the introduction of wireless microphones. More contrasts are possible. Softening of phrases or parts of phrases can lend credibility to a portrayal. It feels more real. And Oliver understood this. I wish I had seen Oliver Taylor dance on the stage; perhaps another day in another place.
hyun During my staying in London for 3 weeks, I saw BE 9 times. - 3 times Olly/2 times Corey and Sam/1 time Layton and Josh. It was kind of bittersweet experience to see BE again after 1 and half year - it was a big pleasure to meet such wonderful new Billys… I really enjoyed my BE journey again. I cannot forget Corey's smile, Layton's tears, Sam's wildness, Josh's freshness, and Olly's beauty.
Chris Interesting question to think about the different portrayals. George – full of energy and aggression. Good humoured, a streetwise Billy James – A quieter Billy. A portrayal that was a bit more inward looking, reflecting the age of this Billy, as somebody of the brink of adolescence, moving from childhood to being a young man and struggling with all this involved. Liam – I think his portrayal changed with time. A somewhat quiet, diffident Billy who was likeable and respectful of adults. He seemed deeply affected by the loss of his mum. Leon – again, a performance which developed as he aged. He was a placid boy, who seemed to be a “normal” teenager, without a lot of aggression. Travis – smiley, happy and vulnerable. Matthew – a quiet introvert who was very much lost in the world in which he inhabited. Picked on by the ballet girls, he only really came alive when he was dancing. Colin – A larger than life Billy, bags of smiles and energy. His Billy was very secure in himself. Layton – young, vulnerable, with a good sense of humour and consideration for those around him. Corey – Another larger than life Billy, lots of smiles and energy, again, but with a vulnerability there too. Olly – His was the closest to Liam, I think. Josh – A more reserved portrayal. A teenager on the brink of adolescence. Can be moody and arrogant, but also caring and considerate. Trent – Another charismatic Billy. Living for the day, happy and outgoing. Somebody who is good fun to be around. I don’t have much to say about Sam or Dean, and I haven’t seen Hogan.
VaRus Chris wrote: Interesting question to think about the different portrayals. Liam – I think his portrayal changed with time. A somewhat quiet, diffident Billy who was likeable and respectful of adults. He seemed deeply affected by the loss of his mum. Olly – His was the closest to Liam, I think.
Olly: diffident - maybe. But quiet? Likeable? Respectful of adults? I don't think so. Looks like that I, with my English, have to write myself about Oliver's interpretation. Well, perhaps now I'm more qualified to do that - recently I unexpectedly saw another - my second - Billy. He indeed was completely different. My description of Olly's portrayal is going to be radical... and schematic. From the very beginning you could feel a palpable tension. When Olly's Billy first appeared and started singing "Take me up and hold me gently, Raise me up and hold me high", my first thought was: What this ethereal creature's doing here? He couldn't belong to that community of burly men: he's obviously alien! That song sounded as a desperate plea - not to his father or his family or his community - but to Him, who is above. That's why for this interpretation it's important to have that angelic high voice of a choirboy that could soar to the heights and reach His ear there. In more formulaic terms: this Billy was a romantic figure in a harsh realistic environment. By definition he was not able to adapt to it and all the temptations of that real world reflected in Debby's and Michael's antics were not for him; so he needed an escapist romantic world and it was granted to him from above. There his mum was alive and he was able to properly live himself through dancing. Only being there he allowed himself to smile. The first time 116 Oliver Taylor in BETM: Dossier we saw him confident and even uncharacteristically beaming was at the end of Solidarity - when he did awake to the fact that this new world was now in his hands. Sensitive and lonely, he's had no illusions: he didn't expect from all the adults any good but real and figurative blows, and it was reflected in his body language. To survive he had to bristle up like a hedgehog. So in his interactions he was easily becoming nervous and pointedly aggressive (and his trademark quick "clipped" delivery of lines served well to show that). His very varying facial expressions frequently reflected his disgust to all those who consistently let him down. By the contrast (key word for this interpretation) in his other world he was the smoothest dancer with the most possible grace who literally radiated beauty (that's why in technical terms his Electricity could be only classics - no street dance and the very minimum of gymnastics). The highlight of his show was undoubtedly "Letter reprise". (Billy: “Bye mum, see you soon?” Dead Mum: “No, I don't think so, do you?”) That was a sign that there was no imaginary world for him anymore, and he must live in different (RBS) but real world. For this particular Billy that did not look as an easy prospect for happy life. Not surprising that some spectators continue to be worrying for him - emotionally there was no happy end. Such an interpretation could easily become melodramatic. However, his pointedly understated and very natural acting did prevent that. Olly normally didn't cry on the stage (his Last Night was a special occasion - I wouldn't repeat those 5,000 words I wrote about it) but many people in the audience did. That's why he probably got more highly personal, affectionate, and arguing with each other reviews than any other Billy (at least during my lifetime at the Forum) - some sensitive people left his challenging show (depicting a metaphysical rather than social-political discontent with society and self) being not only uplifted (his Finale was as celebratory as anyone's) but also disturbed...
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Compiled by VaRus (Valchess): Personal blog: http://valchess.livejournal.com
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