Billy is everything in this musical; it’s a whole different show each time there’s a different kid in the part. So, really, there are 4 productions of Billy Elliot happening in Toronto right now. I’m sure the Caesar Corrales version is great; I’m sure that Marcus Pei brings a lot to the role and JP Viernes really delivers. But I didn’t see those productions, I saw this one.
What I can tell you is that Myles Erlick (the youngest of the bunch at only 12 years old) is one hell of a kid. He set the pace for a brilliant night of theatre as the heart and soul (and astounding technique and style) of the production. The most baffling thing about the young leading man, amazingly, isn’t the question of how he could possibly accomplish the physical feats that he does at such a young age, it’s all the other stuff. Seeing Billy Elliot you are forced to wrap your head around the dancing- it’s mind-bogglingly stellar (especially when performed by little Myles Erlick) and spans multiple genres, but you have to assume that it’s going to be that good. But what’s truly amazing is how a kid from Burlington, ON, who must have grown up dancing to develop technique like he has, how does that kid tap into the put-upon hero of this complex story? How does he unpack all of his training and start from scratch as the character builds up to his standard of performance in front of our eyes? The beaten down sense of trapped resignation, the rough-and-tumble boyishness of a kid from the wrong side of the tracks, the jaunty confident-but-conflicted cool factor- it’s all there, encompassed in the tiny dancer’s body. Myles Erlick somehow manages to be that guy- how, I can’t quite fathom. His Billy is also earnest and optimistic, kind, trusting, loyal; He’ll break your heart with the way he looks at his father in disappointment or make you cry the way he grips the memory of his lost mother in a desperate hug- then he’ll soar higher than any 12-year-old should be able to go and throw himself about the stage with all the passion and aggression of someone old enough to understand the breadth of such things. He’s an exceptional boy, in an exceptional role. I cannot wait until the day young Myles is no longer young Myles, but rather a full fledged principal at the National Ballet of Canada or something comparable. I want to see this kid, 10+ years down the line, dancing Onegin, Romeo, the Nutcracker, the great princes. He has a brilliant career ahead of him, one I will certainly be looking out for.
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