ELTON John’s musical adaptation, Billy Elliot, stops in Bradford on its UK wide “boogie” where LEO OWEN caught the show

The story and socio-political backdrop of Lee Hall’s multiple award-winning 2000 film is already well-known. Director, Stephen Daldry quickly sets the scene by opening with his titular character (Matthew Lyons) on a blackened stage, listening to a radio and wiggling his derriere before news of Thatcher replaces the music. Billy’s rejection of boxing and discovery of ballet is quickly established through entertaining montages, almost as fast as the show’s context – the infamous 80s’ and longest-running UK miners’ strike.

Designer, Ian MacNeil’s set includes clever wheel on segments, such as Billy’s second floor bedroom and toilet cubicles. His set initially envelopes the miners on the picket line, highlighting how geographical location shapes community while complementing Peter Darling’s choreography. Strikers and police infiltrate almost every routine, framing ballet classes and providing dance props, such as riot gear. Hopeful young ballerinas sing “Solidarity”, juxtaposing their femininity with the macho miners. Scenes intersperse, emphasising the story’s close-knit rallying community where secrets are scarce.

The mood contrasts, a veritable rollercoaster from mocking Christmas tunes to angry red-lit tap; teary solos as characters duet or paw over letters/memories and Jackie (Martin Walsh) mourns his wife’s death. A pas-de-deux between Billy and future Billy (Luke Cinque-White) is particularly powerful. While the miners collect at their annual Christmas party after eight months striking, “Merry Christmas Maggie Thatcher” elicits laughs, including a grim reaper; Maggie masks; children dressed as angels sweetly singing “Oh my darling Heseltine. You’re a t**ser. You’re a w*nker”; “Val n’Doreen’s Political Puppet” show and a giant Spitting Image style satirical Maggie puppet.

Well-placed malapropisms and misunderstandings trigger laughs, particularly a cutesy Billy reading “esquire” as “William Elliot is queer”. Although vocals are the weakest, Michael and Billy’s dress-up dance is undoubtedly the most flashy and fun with glittery stage curtains and amusing adult-sized dresses tap dancing. Things also become very slapstick when Billy’s Royal Ballet School letter arrives with Grandma (Andrew Miller) and Tony (Scott Carnham) battling over its contents.

Many of the songs have a military feel with rough half-spoken vocals and plenty of rousing whole ensemble political pieces. “Born To Boogie” with Mr Braithwaite (Daniel Page), Mrs Wilkinson (Annette McLaughlin) and Billy is a more light-hearted number while “The Stars Look Down” boasts strong all male vocals.

Meeting and exceeding expectations, Billy Elliot The Musical is full of heart and humour with a rousing climax and some beautiful choreography. Thoroughly engaging and captivating from start to finish, Billy boasts a phenomenal young talent in Lyons – certainly one to watch.

Billy Elliot, The Musical shows at The Alhambra Theatre May 10 to June 11.