Roy G Biv
Senior Member
I saw Stuff Happens when Joel and Studio 180 produced it a couple of years ago. It was fantastic.
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- Thread starter Benc7
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Benc7
Active Member
It really is! I'm still kicking this play around in my head or, rather, it's kicking me. It brought back a lot of memories, like going to Ottawa to protest Bush's first official visit and marching, a LOT of marching! One had to DO something.
Benc7
Active Member
Civil Elegies - Soulpepper Theatre
“Civil Elegies”, created by Mike Ross and Lorenzo Savoini, is based on the poems and writing of Dennis Lee, winner of the Governor General’s Award for Poetry in 1972. The music is by Mike Ross, and Albert Schultz directs it. But, it’s Mike Ross alone on stage for 65 minutes, playing the piano and singing Lee’s words. Ross is an extraordinary talent (musician, singer, actor, composer) who I’ve heard and seen on stage before, but never as a solo act.
Photographs and video of Toronto were projected on a bare brick wall, while a video screen showed us what he was doing when not playing the piano (a Tim Horton’s coffee cup is cut up and, OMG, it’s new City Hall!) Many of the songs and poems are centred on Nathan Phillips Square, including the Archer himself. From William Lyon Mackenzie to the Spadina Expressway, from the ghosts of immigrants to a man chained to his desk, Ross sings, speaks and weaves a touching, poignant narrative of a city always on the verge of defining itself, and of a country too willing to sell itself off, bit by bit. I loved the poetry, I loved the songs, and I loved that they were about MY city. I crave that, and there's usually not much around to satisfy me.
At the end, Mike Ross interrupted his well-earned applause to apologize for the video system breaking down in the middle of the performance. With someone so engaging on stage, I hadn’t noticed and I didn’t care.
http://www.soulpepper.ca/performances/09_season/civil_elegies.aspx
“Civil Elegies”, created by Mike Ross and Lorenzo Savoini, is based on the poems and writing of Dennis Lee, winner of the Governor General’s Award for Poetry in 1972. The music is by Mike Ross, and Albert Schultz directs it. But, it’s Mike Ross alone on stage for 65 minutes, playing the piano and singing Lee’s words. Ross is an extraordinary talent (musician, singer, actor, composer) who I’ve heard and seen on stage before, but never as a solo act.
Photographs and video of Toronto were projected on a bare brick wall, while a video screen showed us what he was doing when not playing the piano (a Tim Horton’s coffee cup is cut up and, OMG, it’s new City Hall!) Many of the songs and poems are centred on Nathan Phillips Square, including the Archer himself. From William Lyon Mackenzie to the Spadina Expressway, from the ghosts of immigrants to a man chained to his desk, Ross sings, speaks and weaves a touching, poignant narrative of a city always on the verge of defining itself, and of a country too willing to sell itself off, bit by bit. I loved the poetry, I loved the songs, and I loved that they were about MY city. I crave that, and there's usually not much around to satisfy me.
At the end, Mike Ross interrupted his well-earned applause to apologize for the video system breaking down in the middle of the performance. With someone so engaging on stage, I hadn’t noticed and I didn’t care.
http://www.soulpepper.ca/performances/09_season/civil_elegies.aspx
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Benc7
Active Member
Dan Plan Hits The Fan-Globe and Mail
From today's Globe and Mail, a recap of all that went wrong with Dancap's "Toxic Avenger", and how Mirvish got it right with "My Mother's Lesbian Jewish Wiccan Wedding".
http://www.theglobeandmail.com/news/national/toronto/dan-plan-hits-fan/article1405921/
From today's Globe and Mail, a recap of all that went wrong with Dancap's "Toxic Avenger", and how Mirvish got it right with "My Mother's Lesbian Jewish Wiccan Wedding".
http://www.theglobeandmail.com/news/national/toronto/dan-plan-hits-fan/article1405921/
Benc7
Active Member
Fiddler on the Roof - Canon Theatre
“Fiddler on the Roof” is set in Tsarist Russia, circa 1905, in the town of Anatevka. Tevye is a poor milkman with a wife, five daughters, a wonky horse and an interesting relationship with his god: “if you’re tired of pulling the wagon, then push it” is about all the help he can expect from that quarter. The show opens with “Tradition”, a musical number that delineates the roles of every Jewish inhabitant of the town. To not conform to them would be living as precariously as “a fiddler on the roof.” And for the rest of the play, tradition is questioned, tested, and broken. "Fiddler" premièred in 1964 and has become a Broadway standard. Many of the songs in it ("Matchmaker, Matchmaker”, “If I Were a Rich Man”, “Sunrise, Sunset”) have become so famous on their own that some people may not realize they originated in this musical.
There’s only one reason to see the current production, and that’s to see Harvey Fierstein in the lead. What was to have been Topol’s farewell tour in the role that made him famous, has turned into a marvellous opportunity for Fierstein to reprise his 2004 turn as Tevye. His distinctive voice has been described as “gravely” and “raspy” and yet he managed to croak his way into my affections the moment he began to…umm…sing. The supporting cast is fine, but the production only comes alive when Harvey is on stage. There’s a lack of energy that disappears as soon as he appears, so thank goodness he appears a lot. What he may lack in vocal virtuosity, (there are moments when he’s incomprehensible) he makes up for with a genuine, funny, heart-warming performance.
I can’t remember the last time I saw the Canon Theatre so teeming with people; the crush at intermission was unreal. The show is a genuine crowd-pleaser and comes to us at the perfect time of year to please.
http://www.mirvish.com/OurShows/#stuff
“Fiddler on the Roof” is set in Tsarist Russia, circa 1905, in the town of Anatevka. Tevye is a poor milkman with a wife, five daughters, a wonky horse and an interesting relationship with his god: “if you’re tired of pulling the wagon, then push it” is about all the help he can expect from that quarter. The show opens with “Tradition”, a musical number that delineates the roles of every Jewish inhabitant of the town. To not conform to them would be living as precariously as “a fiddler on the roof.” And for the rest of the play, tradition is questioned, tested, and broken. "Fiddler" premièred in 1964 and has become a Broadway standard. Many of the songs in it ("Matchmaker, Matchmaker”, “If I Were a Rich Man”, “Sunrise, Sunset”) have become so famous on their own that some people may not realize they originated in this musical.
There’s only one reason to see the current production, and that’s to see Harvey Fierstein in the lead. What was to have been Topol’s farewell tour in the role that made him famous, has turned into a marvellous opportunity for Fierstein to reprise his 2004 turn as Tevye. His distinctive voice has been described as “gravely” and “raspy” and yet he managed to croak his way into my affections the moment he began to…umm…sing. The supporting cast is fine, but the production only comes alive when Harvey is on stage. There’s a lack of energy that disappears as soon as he appears, so thank goodness he appears a lot. What he may lack in vocal virtuosity, (there are moments when he’s incomprehensible) he makes up for with a genuine, funny, heart-warming performance.
I can’t remember the last time I saw the Canon Theatre so teeming with people; the crush at intermission was unreal. The show is a genuine crowd-pleaser and comes to us at the perfect time of year to please.
http://www.mirvish.com/OurShows/#stuff
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casaguy
Senior Member
I saw Fiddler last night as well. It's been years since I've seen the Canon/Pantages at sold-out crowd levels.
The show was well worth the $100+ seats and the production was quite good. Harvey was fun and I was excited to see him... he played it just as I thought he would (although that's part of the problem for some). My applause for him during the standing ovation wasn't so much about his performance in Fiddler but rather his performances and contributions over the past 30 years or so.
Some more info and reviews here:
http://www.theglobeandmail.com/news...ggles-diluted-no-feathers-fly/article1400065/
http://www.thestar.com/entertainmen...-fiddler-on-the-roof-tugs-at-our-heartstrings
http://www.thestar.com/entertainment/article/737860--fit-as-a-fiddler
The show was well worth the $100+ seats and the production was quite good. Harvey was fun and I was excited to see him... he played it just as I thought he would (although that's part of the problem for some). My applause for him during the standing ovation wasn't so much about his performance in Fiddler but rather his performances and contributions over the past 30 years or so.
Some more info and reviews here:
http://www.theglobeandmail.com/news...ggles-diluted-no-feathers-fly/article1400065/
http://www.thestar.com/entertainmen...-fiddler-on-the-roof-tugs-at-our-heartstrings
http://www.thestar.com/entertainment/article/737860--fit-as-a-fiddler
Benc7
Active Member
Looking Back at 2009
It’s the last day of 2009 and I’m looking back at the theatrical events I’ve attended. I’ve written a list of my “top ten”; it resides in the recycle bin. Instead, I’ve chosen to focus on what resonated with me the most.
Resonance is an odd attribute of art, regardless if that art is hanging on a wall, projected on a screen, acted on stage, or constructed out of concrete and steel: you just never know what’s going to reach in and tear your guts out. It always comes as a surprise because it bypasses our expectations. It detours around our defences and causes something within us to vibrate. Vibrations can shatter us just as easily as they can shatter glass.
My glass was shattered by a little musical that I’d never heard of, one I saw by chance, on a Saturday in July, at Hart House. It was called “Bare”, (The Musical, The Pop Opera, The Rock Opera, they’ve never quite settled on the title). Jason and Peter have had a relationship for years, but high school is nearly over, and Peter wants out of the closet while Jason is perfectly content to remain there. I remember looking at my watch, wondering just how long a first act could last, and just how many songs one could force into two hours. It wasn’t very good; it was over-written, the young cast was uneven, and it ended sadly. But plays that end happily are just plays that end too soon; everything becomes heartbreak if you stay with it long enough. After all, we are mortal. I wished this one had ended “too soon”; I was sick of unhappy gay love stories. I went home.
And then the vibrations began. I began to research this musical on the net and discovered it was ten years old. Ten years old! Why hadn’t I heard about it? Then I got my hands on the studio recording, starring Matt Doyle as Peter. Then I went to see the musical again the following Saturday. Then I downloaded every version of it I could find on Youtube, including one in Italian. This was now an obsession.
I’ve learned that if something generates an emotional response out of proportion to the experience itself, it MUST be examined. So, I did. For months. The details of that examination aren’t interesting to anyone but me. Suffice it to say that nothing was the same after it. Did a flawed, little musical, one that wouldn’t have made my top twenty list, change the course of my life? Of course not, I did that. What it did do is kick-start a process that is still continuing. That's the power of resonance in art; you just never know what it will be, when it will come, and what it will do.
Thanks to all the theatre companies in Toronto for providing me, yet again, with a wonderful year of …art. To all the members of the Urban Toronto Message Board, Happy New Year!
It’s the last day of 2009 and I’m looking back at the theatrical events I’ve attended. I’ve written a list of my “top ten”; it resides in the recycle bin. Instead, I’ve chosen to focus on what resonated with me the most.
Resonance is an odd attribute of art, regardless if that art is hanging on a wall, projected on a screen, acted on stage, or constructed out of concrete and steel: you just never know what’s going to reach in and tear your guts out. It always comes as a surprise because it bypasses our expectations. It detours around our defences and causes something within us to vibrate. Vibrations can shatter us just as easily as they can shatter glass.
My glass was shattered by a little musical that I’d never heard of, one I saw by chance, on a Saturday in July, at Hart House. It was called “Bare”, (The Musical, The Pop Opera, The Rock Opera, they’ve never quite settled on the title). Jason and Peter have had a relationship for years, but high school is nearly over, and Peter wants out of the closet while Jason is perfectly content to remain there. I remember looking at my watch, wondering just how long a first act could last, and just how many songs one could force into two hours. It wasn’t very good; it was over-written, the young cast was uneven, and it ended sadly. But plays that end happily are just plays that end too soon; everything becomes heartbreak if you stay with it long enough. After all, we are mortal. I wished this one had ended “too soon”; I was sick of unhappy gay love stories. I went home.
And then the vibrations began. I began to research this musical on the net and discovered it was ten years old. Ten years old! Why hadn’t I heard about it? Then I got my hands on the studio recording, starring Matt Doyle as Peter. Then I went to see the musical again the following Saturday. Then I downloaded every version of it I could find on Youtube, including one in Italian. This was now an obsession.
I’ve learned that if something generates an emotional response out of proportion to the experience itself, it MUST be examined. So, I did. For months. The details of that examination aren’t interesting to anyone but me. Suffice it to say that nothing was the same after it. Did a flawed, little musical, one that wouldn’t have made my top twenty list, change the course of my life? Of course not, I did that. What it did do is kick-start a process that is still continuing. That's the power of resonance in art; you just never know what it will be, when it will come, and what it will do.
Thanks to all the theatre companies in Toronto for providing me, yet again, with a wonderful year of …art. To all the members of the Urban Toronto Message Board, Happy New Year!
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origin
New Member
We got a taste of what the show will be like on the CityTV new year's eve show at City Hall. The guys sounded great, the female lead was just ok.
Benc7
Active Member
Yeah, I agree with you. I left the City Hall party at 11pm, but caught the "Rock of Ages" cast on TV after I got home. Maybe every body will sound better in a theatre. They did do a great job on "Auld Lang Syne".
dt_toronto_geek
Superstar
I was a young usher at the Eglinton theatre in the early '80's when the brilliant film version of Fiddler on the Roof was re-released in a shortened, two hour & 20 minute version (cut down & scenes re-organized from the original 3+ hour version) for the first time in Dolby Stereo. I had no previous exposure to Fiddler but immediately fell in love with it. Over the years I always cherished my VHS/Laserdisc & eventually, DVD copies of it on my shelf over the years. When I saw the signs & ads announcing that the legendary Topol would reprise his role of Tevye I was beyond ecstatic and couldn't wait to see Fiddler and Topol on the Canon stage. When Harvey Fierstein replaced Topol I had second thoughts. He ruled Hairspray on Broadway but to take on the Fiddler classics gave me pause, I just couldn't believe Fierstein could pull off the songs which the reviews indicate. I will hold out hope that Topol is able to do it again, somewhere between Toronto and New York in the years to come.
Benc7
Active Member
Courageous-Tarragon Theatre
So, a new year and a new play. “Courageous”, by Michael Healey , opens with a loud, funny, argument between Tammy (Erin MacKinnon) and Lisa (Melissa MacPherson) in City Hall. Tammy is about to marry Todd (Brandon McGibbon). Lisa tells her friend that Todd is a two-timer. No matter, the wedding will go on, but a second witness is required. Arthur (Maurice Dean Wint), sitting in the back row, is recruited. Arthur happens to be the boyfriend of Tom (Tom Barnett), the City Marriage Officer officiating at the nuptials. In the next scene, Tom refuses to marry Brian (Patrick Galligan) and Martin (Tom Rooney) because it conflicts with his Roman Catholic beliefs. Insert double take here: a gay man refusing to marry two other men because of his religion? Interesting. Brian happens to be a lawyer, and loges a suit against Tom for refusing to marry them. The scene where Brian and Tom try to find a resolution to their dispute before the Human Rights Board convenes is wonderful. Neither of these men thinks there’s a cost too high to pay for their principles.
There was so much to like about this examination of love, rights, and convictions. It was good to be reminded that this city (and this country) is an oasis of tolerance in a world where “90 percent of people would want us dead.” The actors were spot on, the dialogue eloquent and affecting. At intermission, I looked forward to seeing what developed.
Only, nothing did. After the break, Todd took to the stage and informed us that we’d seen the last of the characters from the first act. Now he would narrate his own story. WHAT? I thought this was some sort of joke, but it wasn’t. Todd, the poor idiot, is living with Tammy and their new baby, facing eviction at any moment. George (Maurice Dean Wint doing double duty) is a refugee from Somalia who got the apartment Todd and Tammy wanted, courtesy of the Federal Government. Todd is a funny slacker, totally confused by adult life that he sees largely as a matter of waiting for things. Most people, he thinks, not only deal with the crap of any given event but also with the unfairness of it all, a waste of time. His philosophy “is what the F---k!” Indeed.
Everyone is good in this play. What I don’t understand is why the playwright would present us with one act of a very good play, and then an act from another play? There isn’t enough weaving of theme or characters to make this work. I felt cheated, as if a waiter took away my plate before I was finished eating, deciding for me that I’d had enough. I’m still hungry for the second act! Where is it? Rats!
http://www.tarragontheatre.com/season/0910/courageous/
two acts, one intermission....or, two plays separated by one intermission.
So, a new year and a new play. “Courageous”, by Michael Healey , opens with a loud, funny, argument between Tammy (Erin MacKinnon) and Lisa (Melissa MacPherson) in City Hall. Tammy is about to marry Todd (Brandon McGibbon). Lisa tells her friend that Todd is a two-timer. No matter, the wedding will go on, but a second witness is required. Arthur (Maurice Dean Wint), sitting in the back row, is recruited. Arthur happens to be the boyfriend of Tom (Tom Barnett), the City Marriage Officer officiating at the nuptials. In the next scene, Tom refuses to marry Brian (Patrick Galligan) and Martin (Tom Rooney) because it conflicts with his Roman Catholic beliefs. Insert double take here: a gay man refusing to marry two other men because of his religion? Interesting. Brian happens to be a lawyer, and loges a suit against Tom for refusing to marry them. The scene where Brian and Tom try to find a resolution to their dispute before the Human Rights Board convenes is wonderful. Neither of these men thinks there’s a cost too high to pay for their principles.
There was so much to like about this examination of love, rights, and convictions. It was good to be reminded that this city (and this country) is an oasis of tolerance in a world where “90 percent of people would want us dead.” The actors were spot on, the dialogue eloquent and affecting. At intermission, I looked forward to seeing what developed.
Only, nothing did. After the break, Todd took to the stage and informed us that we’d seen the last of the characters from the first act. Now he would narrate his own story. WHAT? I thought this was some sort of joke, but it wasn’t. Todd, the poor idiot, is living with Tammy and their new baby, facing eviction at any moment. George (Maurice Dean Wint doing double duty) is a refugee from Somalia who got the apartment Todd and Tammy wanted, courtesy of the Federal Government. Todd is a funny slacker, totally confused by adult life that he sees largely as a matter of waiting for things. Most people, he thinks, not only deal with the crap of any given event but also with the unfairness of it all, a waste of time. His philosophy “is what the F---k!” Indeed.
Everyone is good in this play. What I don’t understand is why the playwright would present us with one act of a very good play, and then an act from another play? There isn’t enough weaving of theme or characters to make this work. I felt cheated, as if a waiter took away my plate before I was finished eating, deciding for me that I’d had enough. I’m still hungry for the second act! Where is it? Rats!
http://www.tarragontheatre.com/season/0910/courageous/
two acts, one intermission....or, two plays separated by one intermission.
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Benc7
Active Member
Billy Bishop Goes to War-Soulpepper
This production of Billy Bishop Goes to War must be considered a unique event in the Canadian theatrical world. The play was first performed in 1978, starring its authors Eric Peterson (in the title role) accompanied by John Gray as the pianist/narrator. Thirty-two years later, they’ve reunited to reprise their performances in a play that has become a landmark of Canadian Theatre.
This is the first time I’ve seen it onstage (bad Canadian, bad!). In this revised iteration, Billy Bishop (played by Eric Peterson) is now, like the authors, an old man. He reminisces about his days in the Great War, on a stage littered with trunks and suitcases, bearing the names of some of the theatres this show has played. Peterson has the stage mostly to himself, populating it with a cast of characters from the title role to the lovely Helene, a French chanteuse. Billy is a bit of a cock-up from Owen Sound who wants to fly planes to get him out of the mud of the cavalry. He loathes the butchery of the war but also relishes it. He’d damn good at what he does, shooting down 72 enemy planes and becoming the unlikely hero of the war and a young nation.
John Gray, at the piano, provides a “Weil/Brel-ish†accompaniment; some of the songs (there are lots of songs) are so wistful and melancholy they brought tears to my eyes; “It didn’t seem like war at all†is belied by the fact that most of Billy’s buds are killed by it.
This is a rambling play; like an old man telling war stories, it goes on too long. The structure is seemingly a simple, straightforward narrative but I found it dragged, occasionally to spark up into something good, and then dragging again. The songs can be too predicatble. Eric Peterson is wonderful; his appearance in anything would guarantee a sell-out performance. John Gray, at the piano and as a supporting cast member, provides excellent musical and emotional accompaniment.
The original version played for four months on Broadway, was awarded the Governor General’s Award for drama in 1982, and was (for four years in the early 80’s) the most produced show in America. A quick Google search shows a production currently playing in Norfolk, Virginia with a much younger cast; closer to the age Peterson and Gray would have been when they first performed this piece. It would be interesting to see that for comparison.
http://www.soulpepper.ca/
This production of Billy Bishop Goes to War must be considered a unique event in the Canadian theatrical world. The play was first performed in 1978, starring its authors Eric Peterson (in the title role) accompanied by John Gray as the pianist/narrator. Thirty-two years later, they’ve reunited to reprise their performances in a play that has become a landmark of Canadian Theatre.
This is the first time I’ve seen it onstage (bad Canadian, bad!). In this revised iteration, Billy Bishop (played by Eric Peterson) is now, like the authors, an old man. He reminisces about his days in the Great War, on a stage littered with trunks and suitcases, bearing the names of some of the theatres this show has played. Peterson has the stage mostly to himself, populating it with a cast of characters from the title role to the lovely Helene, a French chanteuse. Billy is a bit of a cock-up from Owen Sound who wants to fly planes to get him out of the mud of the cavalry. He loathes the butchery of the war but also relishes it. He’d damn good at what he does, shooting down 72 enemy planes and becoming the unlikely hero of the war and a young nation.
John Gray, at the piano, provides a “Weil/Brel-ish†accompaniment; some of the songs (there are lots of songs) are so wistful and melancholy they brought tears to my eyes; “It didn’t seem like war at all†is belied by the fact that most of Billy’s buds are killed by it.
This is a rambling play; like an old man telling war stories, it goes on too long. The structure is seemingly a simple, straightforward narrative but I found it dragged, occasionally to spark up into something good, and then dragging again. The songs can be too predicatble. Eric Peterson is wonderful; his appearance in anything would guarantee a sell-out performance. John Gray, at the piano and as a supporting cast member, provides excellent musical and emotional accompaniment.
The original version played for four months on Broadway, was awarded the Governor General’s Award for drama in 1982, and was (for four years in the early 80’s) the most produced show in America. A quick Google search shows a production currently playing in Norfolk, Virginia with a much younger cast; closer to the age Peterson and Gray would have been when they first performed this piece. It would be interesting to see that for comparison.
http://www.soulpepper.ca/
Tewder
Senior Member
"Assassins", currently playing at the Theatre Centre is a must-see, an amazingly intimate evening with a superb cast and a very bizarre but fascinating Sondheim piece. Don't miss it!
Benc7
Active Member
The Light in The Piazza-Acting Up Stage Company
"The Light in The Piazza" (book by Craig Lucas, music by Adam Guettel) won 6 Tony Awards; now I know why.
Acting Up Stage Company's offering is just plain terrific;nine superb voices,nine superb actors, on an essentially bare stage accompanied by a 4 piece orchestra. The musical is about Margaret(Patty Jamieson) who takes her 26 year-old mentally challenged daughter to Italy. The daughter, Clara( Jacquelyn French),falls in love with an Italian boy(Jeff Lillico). Neither of them really speaks the other's language, but both understand love. It's love (and its limitations) that's so artfully, painfully,examined. This isn't a sentimental view of romance; everyone, except the two lovers, knows what kind of pain love can bring and one has the feeling the lovebirds are going to find that out after the curtain drops. The cast is just amazing, beautifully directed by Robert McQueen.
I hope this gets an extended run. I've got to remind myself to see EVERYTHING Acting Up Stage Company puts on; they've never disappointed.
Two acts, one intermission
http://www.lightinthepiazza.ca/
"The Light in The Piazza" (book by Craig Lucas, music by Adam Guettel) won 6 Tony Awards; now I know why.
Acting Up Stage Company's offering is just plain terrific;nine superb voices,nine superb actors, on an essentially bare stage accompanied by a 4 piece orchestra. The musical is about Margaret(Patty Jamieson) who takes her 26 year-old mentally challenged daughter to Italy. The daughter, Clara( Jacquelyn French),falls in love with an Italian boy(Jeff Lillico). Neither of them really speaks the other's language, but both understand love. It's love (and its limitations) that's so artfully, painfully,examined. This isn't a sentimental view of romance; everyone, except the two lovers, knows what kind of pain love can bring and one has the feeling the lovebirds are going to find that out after the curtain drops. The cast is just amazing, beautifully directed by Robert McQueen.
I hope this gets an extended run. I've got to remind myself to see EVERYTHING Acting Up Stage Company puts on; they've never disappointed.
Two acts, one intermission
http://www.lightinthepiazza.ca/
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Benc7
Active Member
Mirvish Announces Billy Elliot-Part of 2010-11 Season
This has been rumored for a long time, so no big surprise. Looking forward to seeing what else is in store.
http://www.mirvish.com/shows/billyelliot
This has been rumored for a long time, so no big surprise. Looking forward to seeing what else is in store.
http://www.mirvish.com/shows/billyelliot