Billy Elliot - North Carolina Theatre

Rated:
PG-13
Study Guide
February 10-15, 2015
PNC pulls back the curtain of the 2014-15 NC Theatre season to share a series of behind
the scenes experiences with audience members of all ages. The PNC In the Director’s Chair
is a window into the creative process, helping to broaden the way audiences engage with
musicals and their regional theatre company, NC Theatre, giving patrons a deeper appreciation for the art form beyond simply their own experience in the moment, and ultimately enhancing their theatre-going experience.
PNC and NC Theatre are proud to work together to give patrons a brand new perspective –
In the Director’s Chair.
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is made possible by
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NC Theatre: Your Broadway Connection
Duke Energy Center for the Performing Arts | Doug Van de Zande Photography
North Carolina Theatre is Raleigh’s regional professional musical theatre company. In 1983
Raleigh's City Manager, Mr. L.P. Zachary, invited Carolina Regional Theatre, with the deft direction of De Ann Jones, to make its permanent home in Raleigh Memorial Auditorium under
contract with the City. The Theatre debuted with the musical Camelot in Spring of the following year. Opening with 825 season tickets sold and a total audience of 24,000, Camelot marked
the beginning of the Theatre's new direction. With this new direction as inspiration, in May of
1984 the name was changed to North Carolina Theatre. Today, North Carolina Theatre serves
as the home of quality musical theatre productions in central North Carolina, drawing more
than 60,000 visitors to Raleigh Memorial Auditorium each year.
Our Mission
Culture: Feed the spir it of local citizens by pr oviding exceptional theatr e pr oductions, using
the best national, regional and local talent.
Community: Fortify the cultur al vitality of the r egion by offer ing br oad access to live theatr e, while
strengthening economic growth.
Citizenship: Foster the next gener ation of ar tists and leader s who will become futur e patr ons of the
arts through training, performance, and outreach programs.
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Preview
Preview
Show Information
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Artist Bios
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Show Activities
15-16
NC Theatre Conservatory
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One Sensational Season!
Peter and the Star Catcher
March 10-15, 2015
Rated PG
Next to Normal
May 1-10, 2015
Rated PG-13
The Buddy Holly Story
July 21-26, 2015
Rated PG
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1984 Miners’ Strike
Billy Elliot, The Musical takes place against the backdrop of the British coal miners’
strike of 1984. Prime Minister, Margaret Thatcher, had plans for major economic change in
Britain, including significantly reducing the power of trade unions. She aimed to privatize
Britain’s core industries in the hopes of making it a more competitive and efficient economic world power.
The impending closure of 23 coal pits in 1981 created tension between the government and mineworkers. At the time, the threat of a strike was enough to make the government back down. For the moment a strike was averted, but its resurgence was inevitable.
In 1984, the National Coal Board proposed closing 20 of 174 British coal pits, cutting mining jobs by over 10%. After losing 3 previous ballots on the strike, Arthur Scargill,
leader of the National Union of Mineworkers, bypassed the ballot and led an illegal strike.
Because no ballot was held, many miners did not observe the strike and armed police
were sent to disperse those who did. Relations between police and strikers were hostile and
often violent, but relations between miners also deteriorated. Many miners who chose not
to observe the strike were also treated with hostility by their peers, causing many to leave
the industry.
The government took advantage of increased productivity leading up to the strike to
stockpile coal, essentially allowing the miners’ strike to occur without devastating consequences to the nation. After nearly a year, there was still no sign of compromise in sight.
Hardships for the working class only increased and with many miners facing foreclosures
and/or unable to support their families (such as in Billy Elliot), the strike ended in bitter
defeat for the miners.
Photograph: AFP/Getty Images
(South Yorkshire Police grapple with picketers.
1984).
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Content
Thrilling audiences worldwide and winning TEN
Tony Awards® including Best Musical, Billy
Elliot The Musical features a spectacular score
by Elton John and is the inspirational story of
one boy’s journey to make his dreams come true.
Set in a small town, the story follows Billy as he
stumbles out of the boxing ring and into a ballet
class, discovering a surprising talent that inspires
his family and his whole community, changing
his life forever.
Characters
Billy Elliot: an 11 year old boy who discover s a passion for ballet.
Dad: J ackie Elliot, Billy’s father . A coal miner .
Tony: Billy’s older br other , also a coal miner .
Grandma: Billy’s gr andmother , who lives at home
with Billy and his family.
Parental Guidelines
Mrs. Wilkinson: The local ballet teacher who en-
Rated PG-13
courages Billy to pursue dance.
Mr. Braithwaite: Accompanist at the ballet school.
George: Coal miner and local boxing coach.
Mum: Billy’s mother , who has been dead for 2
years. She appears to Billy throughout the show.
Michael: Billy’s best fr iend.
Debbie: Mr s. Wilkinson’s daughter .
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For further parental guidelines in detail,
see next page.
Parental Guidelines Breakdown
Language
Dialogue and lyrics throughout the show include mature language.
Billy Elliot takes place in a northern England mining community where many of its
residents are poor and have little education.
The words shit, bastard, hell, pissed, ass,
bloody and crap are all used frequently,
sometimes spoken by young characters.
Violence
Billy’s boxing teacher is physically rough
with him and another boy.
The miners’ strike becomes violent on several occasions. In one instance, Billy puts
himself in the middle of a fight between his
dad and other miners on strike, getting hit.
Drugs/Alcohol
Beer and cigarettes are used.
Sexual References
Some dialogue and lyrics contain sexual innuendo.
Mature Themes
Class conflict and social inequality is a reoccurring theme throughout the miners’ strike.
Some dialogue and lyrics reference cross-dressing and homosexuality. In “Expressing Yourself,” Billy’s friend Michael persuades Billy to have fun with him by dressing up in women's clothing and disdaining the restrictive inhibitions of their working class community.
Michael kisses Billy in friendship.
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Synopsis
feelings and asks to be left alone. For the first
time in over a year, Billy feels inspired to
dance again. Unknown to Billy, his father
watches him dance and is amazed by his talent. He goes to Mrs. Wilkinson to revisit the
possibility of Billy auditioning for the Royal
Ballet School. Jackie Elliot soon realizes he
will not be able to help his son unless he returns to work. As he crosses the picket line,
Tony is outraged and the two fight about what
is more important, the miners’ mission or
Billy’s future. Billy is struck in the scuffle.
The community comes together around Billy
and the miners give what they can to pay his
fair to London. Tony, who still feels bitter,
leaves.
Act I
The show begins in County Durham during
the 1984 miners’ strike. An 11 year old boy,
Billy Elliot, lives with his father (Jackie Elliot), older brother (Tony), and Grandmother.
Jackie and Tony are participating in the strike,
so Billy must stay late after his boxing lessons.
He finds his way into a ballet studio and joins
the class.
Billy keeps his ballet dancing a secret from his
family, but Billy’s father soon finds out and
forbids Billy from going. Mrs. Wilkinson, the
ballet teacher, recognizes Billy’s natural ability
and gives him private lessons secretly. Her
hopes are that Billy can audition at the Royal
Ballet School in London. Billy makes progress, but on the day of the audition does not
come to be picked up. Mrs. Wilkinson finds
Billy at his home and tries to convince his father to let Billy audition.
Billy’s father comes with him to London for
his audition. Billy feels his audition went
poorly and strikes one of his fellow auditionees who tries to comfort him. The committee remind Billy of the school’s rules.
He does not accept Billy’s passion. Billy argues that his mother (who died 2 years prior) Once back at home, the miners’ strike has endwould have let him dance. His father denies it, ed and things are returning to normal. Billy
gets a letter from the Royal Ballet School in
leaving Billy crushed.
the mail and is terrified. He tells his family
that he was rejected, but Tony takes the letter
Act II
from the trash and sees that Billy has actually
been accepted. Billy decides to study in LonBilly has given up ballet and has not danced
for over a year. The scene opens on the miners’ don. Before leaving he thanks Mrs. Wilkinson
for her help. He packs his bags and says goodannual Christmas show. After the show Mibye to the community who has supported him.
chael, Billy’s best friend, reveals that he has
feelings for Billy. Billy does not return his
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Inspiration behind Billy Elliot
Author of the screenplay, Billy Elliot, as well as lyricist of Billy Elliot The Musical, Lee Hall
has credited several sources as inspirations behind Billy’s story.
A.J. Cronin
A.J. Cronin’s novel, “The Stars Look Down,” details the lives of several men
in a mining town who have aspirations beyond mining during wartime. Hall pays credit to Cronin in the opening sequence of Billy
Elliot, The Musical with a song entitled “ The
Stars Look Down.”
Acclaimed operatic baritone, Sir Thomas Allen, born and
raised in the mining town Seaham Harbour, County Durham,
was another inspiration for Billy’s story. Allen sang in a
church choir, but was hesitant to pursue anything that involved
stage acting. Allen’s physics teacher, Denis Weatherly (also a
baritone), recognized Allen’s natural talent and became his first
voice tutor, training him during lunch breaks. Sir Thomas Allen was able to secure an interview with the Royal College of
Music and was ultimately admitted.
Sir Thomas Allen plays Figaro
However, it was the incongruous image of a boy in a tutu
Photo Credit: Clive Barda
against a harsh landscape that ultimately gripped Hall’s
imagination. Dancing was a compelling visual that told Cronin and Allen’s stories, as well as
Hall’s own. Hall developed as a
writer amid a devastating period
of civil unrest and Billy’s story, in
many ways, depicts Hall’s own
journey as a writer.
Photo: Corkery/News.
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Billy Elliot Creative Team
Lee Hall (Lyricist): Lee Hall was born in Newcastle Upon Tyne in 1966 and studied English Literature at Cambridge University. He has worked as a writer in theatre,
TV, radio and film. He has been writer in residence at the
Royal Shakespeare Company and Live Theatre, Newcastle Upon Tyne. Hall is best know for his screenplay, Billy
Elliot.
Elton John (Composer): International music icon, Elton John, has released 31 studio albums over the span of
his fifty year career. Also active in film scoring, Elton
John wrote music for Disney’s The Lion King, which led
to his collaboration in the Broadway musical version in
1997. Since Lion King, John has written scores to Broadway’s A ida, Billy Elliot, and Lestat.
Peter Darling (Choreographer): Peter Darling is both
dancer and choreographer. He is best known for his original choreography of Billy Elliot, The Musical for which
he won a Tony Award for Best Choreography. Darling also choreographed Broadway’s Matilda, the Musical.
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NC Theatre Creative Team
Casey Hushion (Artistic Director) is proud to be the Artistic Director of North Carolina Theatre, where she has directed 18 productions. Casey was the Associate Director of Elf (2012, 2010). She
was also was the Assistant Director of In The Heights, both on
Broadway and the National Tour. She had the pleasure of Assistant
Directing the Broadway, West End and the National Tour productions of The Drowsy Chaperone. Other Broadway credits include: To Be or Not To Be (Manhattan Theatre Club) and Good Vibrations. She also directed the Off-Broadway run of Fat Camp last
spring. Casey has worked as the Associate Director on Anyone Can
Whistle at City Center Encores, as well as on Minsky’s at the Ahmanson Theatre. A graduate of New York University, Casey has
worked at regional theatres such as North Shore Music Theatre,
Ogunquit Playhouse, Papermill Playhouse, Casa Manana, Music
Theatre of Wichita and Goodspeed Opera House, where she was also on staff as their New Works Scout. Active in the development of
new musicals, she has directed for festivals such as the New York
Music Theatre Festival and the National Alliance for Musical Theatre. With the Boston Pops, Casey has directed concert versions
of Carousel and of A Little Night Music. Casey just finished directing a production of How To Succeed In Business at both Riverside
Theatre and Walnut Street Theatre. She is the director of the new
musical NERDS, which is expected to open on Broadway this year.
Eric Woodall (Director): Directing the show will be Eric Woodall
who previously directed NC Theatre's Driving Miss Daisy and Steel
Magnolias. Directing credits include Big River (Casa Manana), Parade, August Osage County and Violet (Theatre Raleigh), Amadeus
(Memphis’ Playhouse on the Square), and Hay Fever (Playmakers
Repertory). He is a Resident Director of Broadway’s Mamma
Mia! and a casting director with Tara Rubin Casting. Eric is a drama
graduate of Carnegie Mellon University, and originally hails from
Benson, NC.
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NC Theatre Creative Team
ADAM PELTY (Chor eogr apher ) Br oadway cr edits as actor include
Steel Pier, Titanic, A Christmas Carol, Cyrano-The Musical, Joseph...,
and The Scarlet Pimpernel, for which he also created the original choreography. Most recently, he served as resident choreographer for the Broadway touring company of Billy Elliot the Musical and choreographed the
first regional production for Ogunquit Playhouse in Maine last Summer.
His Chicago production of Tick Tick Boom in 2012 for Porchlight Music
Theatre was critically acclaimed. Since 2010, he was seen as “Santa” in
the national touring company of A Christmas Story, “Aldolpho” in The
Drowsy Chaperone (Jeff nomination, supporting actor) at Marriott’s Lincolnshire Theatre, “Sir Lancelot” in Spamalot at Pittsburgh Civic Light
and Putting It Together for Porchlight (Jeff nomination, actor in a revue).
Other regional directing and choreography credits include Syncopation for
Merrimac, Five Course Love for Capital Rep, and Kenny Rogers’ Christmas From The Heart at the Beacon Theatre in New York City. From 2000
to 2004, Mr. Pelty served as Director of Musical Theatre at Interlochen
Center for the Arts in Michigan and was the founding creative director for
“Summer Stars” in Rochester, New York. He has also served on the faculties of Ithaca College and NYU. Adam is currently a professor of Musical
Theatre at Coastal Carolina University and divides his time between Myrtle Beach, home-town Chicago and New York City. His proudest achievement is being the father of teenage up-start, Noah Pelty.
Meet the cast!
Ira David Wood, III (Jackie Elliot): Ira David Wood III is Founder
and Executive Director of Theatre in the Park and a leader in the Raleigh Arts Community. On November 13th, Wood received the state’s
highest civilian honor, “The North Carolina Award”, in recognition
of his contributions to fine arts in the state. On stage, he is best
known as “Scrooge” in his own musical adaptation of A Christmas
Carol, which celebrated its 40th year of consecutive production in
December. Wood has previously appeared at NC Theatre in Man Of
La Mancha, Funny Girl, Peter Pan, La Cage aux Folles, Oliver, The
Wizard of Oz, The Full Monty, Grease, and The Sound Of Music.
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Meet the cast!
JANET DICKINSON* (Mr s. Wilkinson) Recent: L ittle Dancer (Mar y
Cassatt) World premier at the Kennedy Center in DC. Broadway: Bullets
Over Broadway u/s (Helen Sinclair & Eden); How The Grinch Stolen Christmas; Happiness at Lincoln Center. Tours: Mrs. Wilkinson in Billy Elliot; 9 to
5 The Musical. Off-Broadway: “Sandy” in Fat Camp; Forbidden Broadway's
Rude Awakening cast recording and 2008 Drama Desk Award; Secrets Every
Smart Traveler Should Know. 2011 NYMF Award for Best Individual Performance in Madame X ; Citizen Ruth role of “ Diane” (2009 Best Musical at
the NY Fringe Festival). Janet is originally from Bemidji, MN. Thanks to
Doug, my family and friends and my agents at Carson/Kolker for all of their
support!
Sam Faulkner (Billy Elliot): Stepping into the role of “Billy” will be Charlotte native, Sam Faulkner. Faulkner appeared as “Billy” this past summer at
the Ogunquit Playhouse. Recently, Faulkner was seen in NYC readings of
the Broadway-bound revival of The Me Nobody Knows and appeared as
“Ralphie” in A Christmas Story the Musical in Chicago. Faulkner began
dancing at age nine, winning many awards including the title of Teen Mr.
Dance of North Carolina 2013-2014.
Ira David Wood, IV (T ony): Son of Ira David Wood III, Ira David Wood
IV plays Jackie Elliot’s son, Tony in our production of Billy Elliot, The Musical. He made his first stage appearance as an infant in his father’s beloved
A Christmas Carol in 1984. Since then he has been seen in television miniseries, television programs (including as an accomplice on Punk’d) as well as
feature films. He taught acting at the prestigious acting studio “The Shop” in
North Hollywood, California.
Shari Jordan (Dead Mum/Ensemble) Raleigh native, is thr illed to be
home! Broadway National tours: Mel Brooks' The Producers (Ulla u/s,
Dance Capt.), Crazy For Y ou (Tess), Steel Pier. Other: Radio City Rockette,
The Little Mermaid (Ursula u/s), W izard of Oz (Wicked Witch u/s), resident
Dance Captain at Tuacahn. Assistant choreographer: The Producers at The
Hollywood Bowl, PCLO, NCT, NSMT and Mel Brooks' AFI Lifetime
achievement award. Film: The Producers. Magna Cum Laude graduate of
NCSU. For my boys, Jordan and Hudson. AEA Member.
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Billy Elliot Fun Facts

6 degrees of Ira David Wood
Real-life father and son, Ira David Wood
III and Ira David Wood IV, will play father
and son (Jackie and Tony Elliot) in our
production of Billy Elliot, The Musical
More Fun Facts


Liam Mower as the Prince with Christopher
Trenfield as The Swan .
Jamie Bell plays Billy Elliot in the 2000 film.
Ira David Wood III’s daughter,
Evan Rachel Wood, has a son with
Jamie Bell, who played Billy in
the 2000 film, Billy Elliot
Liam Mower, who starred in the original cast of
Billy Elliot, The Musical, recently debuted the role of the
Prince in Matthew Bourne’s Swan Lake. At the end of the
film Billy Elliot, Billy takes the stage in this very production.
Billy Elliot, The Musical has won 81 awards worldwide,
including the Laurence Olivier Best Musical Award
(London), the Helpmann Award for Best Musical
(Australia) and 10 Tony Awards, including Best Musical
(Broadway) as well as multiple Dora Awards (Toronto) and
Korea
© 2014 Helen Maybanks Photography

On Billy Elliot, The Musical’s
one year anniversary, each of the
3 boys who originated the role
played Billy in alternate scenes.
Elton John made an appearance
in a tutu during the curtain calls.
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Photo by David Scheinmann
Billy Elliot Timeline
1935
A.J. Cronin’s “The Stars Look Down” is
published.
1984
British coal miners’ strike
2000
Lee Hall’s film, Billy Elliot is released.
2005
Billy Elliot, The Musical premieres in London.
2008
Billy Elliot, The Musical premieres on
Broadway.
2009
Billy Elliot, The Musical wins TEN Tony
Awards.
2015
NCT premieres Billy Elliot, The Musical.
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Student Activities
Compare and Contrast
Compare and Contrast Watch Lee Hall’s awar d-winning film
Billy Elliot and compare it to the musical he scripted 5 years later.
What has changed? What has evolved? What has stayed the same?
NC Theatre production
Billy Elliot film
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Student Activities
Billy Elliot Trivia!
1.) Who was the British Prime Minister during the 1984 miners’ strike?
A. Tony Blair
B. Margaret Thatcher
C. John Major
D. Winston Churchill
2.) How many Tony Awards did Billy Elliot, The Musical win?
A. 5
B. 8
C. 10
D. 11
3.) In what year did Billy Elliot, The Musical premiere on Broadway?
A. 2005
B. 2006
C. 2007
D. 2008
4.) Billy Elliot, The Musical tied with ____________ (also featured in NCT’s 2014/15
season) for a Tony for Best Musical Orchestration in 2009.
A. Next to Normal
B. The Buddy Holly Story
C. Peter and the Starcatcher
D. A Chorus Line
Answer Key: 1.) B, 2.) C, 3.) D, 4.) A
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NC Theatre and Beyond
Making a Musical: Index of Terms
Actor’s Equity Association - a labor union that represents American theatre actors and stage managers. Founded
in 1913, the union provides a variety of benefits and protections for members, including health insurance, a minimum salary and many others. Under an agreement with the Actors' Equity Association, NC Theatre is committed to
hiring a significant number of Equity performers for each production.
Broadway - located in the Manhattan borough of New York City, Broadway is considered the highest level of
commercial, or for-profit, theatre in addition to the West End in London. Broadway theatre includes any theatrical
performance presented in one of the 40 professional theatres with 500+ seats that is located in the Theatre District.
The Broadway League is a trade organization that works with theatrical unions such as Actor’s Equity Assoc. (see
above) to negotiate contracts and promote Broadway theatre. Most Broadway theatre houses are owned and managed by the Shubert Organization (17 theatres), the Nederlander Organization (9 theatres), and Jujamcyn (5 theatres).
Non-Profit Theatre - holds the tax-exempt 501(c)3 status and exists for the greater good of the community. They
have a mission, vision, or goal regarding their artistic objectives for the theatre or their education department.
Many non-profit theatres have an educational component which serves the community, such as NCT’s year-around
Conservatory and its “Theatre4Change” workshop in the “Stage2School” program. North Carolina Theatre is a
professional non-profit theatre. There are three non-profit Broadway theatre companies: Lincoln Center Theatre,
Manhattan Theatre Club, and Roundabout Theatre Company.
A musical takes a ton of people working together. Just a few of them are listed below!
Composer - writes or composes the musical score. Elton John composed Billy Elliot, The Musical.
Lyricist - writes the lyrics, or puts words to the songs of the musical score. Lee Hall wrote the lyrics for Billy Elliot, The Musical.
Dramaturg - does research on a play or musical, such as references to historical background, research of other productions of the show, or anything else that helps the director and actor understand the script better.
Artistic Director - oversees the aspects of production, maintains the overall artistic vision and goals of the theatre,
has overarching control of the theatre’s season line-up of productions, and is the primary director of the shows.
There may also be Associate or Assistant Artistic Directors.
Director - develops a vision for a particular show and ensures its quality by unifying the artistic and production
side of the show. The director typically works with actors to stage or “block” the show. The director also works
closely with designers and the technical director to ensure that the production’s technical aspects are unified with
his or her artistic vision. There may be Assistant Directors.
Producer - the producer raises and provides financial backing for productions and oversees all aspects of putting
up a theatre production. The producer also handles managerial functions and hires artistic personnel, such as the
director. There may also be Associate Producers.
Music Director - directs musical aspects of the show, such as the vocalists and the orchestra.
Choreographer - choreographs or comes up with the dance or movement component of a musical, called choreography.
Conductor - the person who conducts the musicians in the orchestra pit.
Rehearsal Pianist - the person that accompanies vocalists during the rehearsal process until rehearsals with the pit
orchestra begin.
Production Stage Manager - in charge of coordinating many aspects of a theatrical production. They are often the
go-between communicator for the director and actors and the director and technical production personnel. They
ensure the smooth execution of a production. There may be Assistant Stage Managers.
Technical Director - responsible for the overall organization of the technical production process, including overseeing the implementation of the designers’ visions, developing and working within a production budget, scheduling and supervising build crews, communicating with the director, and organizing the strike or clean-up of a production following the closing performance.
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Dream of being the next Billy?
North Carolina Theatre Conservatory
Broadway veterans teaching future Broadway stars.
Classes offered for all ages!
Visit www.nctheatreconservatory.com for more information.
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