I don’t think the language was needed to express the casts’ feelings (it wasn’t in the movie). These words should not be in a 12+ year olds musical. I could handle a few curse words here and there but when they repeatedly use the F-word or "Piss off" I have a problem. I am almost 26, and use the occasional bad word, but if I had children they would not be seeing this play.
There is a parental guidance for the play that is for audiences over 12 but I believe it needs to be older.
#Billy elliot rating movie#
Unlike the movie the play has numerous foul words. I went with my parents to see Billy Elliott last night at the Kansas City Music Hall. A young child sitting behing us, age about 12, just didn't enjoy the show. If you're looking for a fun night out at the theater, go see it!!! PS.Some language in the show may not be appropriate for young children we'd grade it PG16. We can't recommend the Billy Elliot production at the Hippodrome highly enough. Some of the dialogue was difficult to catch due to the appropriate British/Scottish accents, but that in no way detracted from our enjoyment of the show. The young man who played Billy on 12/18, whose name we unfortunatly can't recall (we're over 70), was fantastic from the "Playbill" we do remember he is from the eastern part of Massachusetts.
The show was absolutely brilliant, to include the staging, choreography, and acting. That wouldn't mean much if we were in our 20s, or even our 30s, but we're both 70+ and have attended more than just a few stage shows during the past 50 years. Still, Marc Bolan and T Rex are where the heart of the soundtrack lie, and there's a great selection of tunes from him, including not just the omnipresent "Get It On" and "Cosmic Dancer," but the non-LP singles "I Love to Boogie," "Children of the Revolution," and the wonderful "Ride a White Swan." These great songs, when paired with Weller and "London Calling," make the soundtrack to Billy Elliot more infectious than the film itself.My wife and I agreed Billy Elliot is the best stage show we've ever seen.
Weller is represented by the Jam's "Town Called Malice" and two from the Style Council, "Shout to the Top" and "Walls Come Tumbling Down." It's a classic paired with two period pieces, and he comes off well all the same. It's a pair that doesn't seem to work well together on paper - the Slider and the Modfather share a fondness for Northern soul and nice clothes, but their boogie and sophisti-pop appear to be polar opposites - but it all works well here, since they're both terrific singles artists. There are a couple of stragglers here - Stephen Gately, Eagle-Eye Cherry, and the Clash have a song a piece - but for the most part, this is devoted to two great British pop stars, Marc Bolan and Paul Weller. But, if you can ignore that dialogue and concentrate on the music, you have a real nice disc of British pop. Like any soundtrack with aspirations of being hip, the soundtrack to the heart-warming Brit comedy-drama Billy Elliot is peppered with dialogue from the film - a tactic that was entertaining in 1993, when Reservoir Dogs popularized it, but it had lost its charm by 2000.
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