The main reason to see “Billy Elliot the Musical” is, of course, the dancing. The national touring production that opened Tuesday at the Music Hall
did what it had to do to earn a standing ovation: It softened us up with
easy laughs, tugged at our heartstrings with sentimentality, pumped us
full of high-octane arrangements of generally forgettable Elton John
melodies and dazzled us with some exceptional choreography by Peter
Darling. Add to that a big dollop of left-wing British political
sentiment, and before you know it you’ve got a crowd-pleaser on your
hands.
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