Stopping in San Diego for 8 shows, ‘Billy Elliot the Musical’ addresses universal themes in touching, inspirational production

Por Antonio Rey | Editor SDUN

“Billy Elliot the Musical” leaps into San Diego Tuesday, April 30 for a six-day, eight-show run and the show – adapted from the 2000 film “Billy Elliot” that dealt with, ultimately, being comfortable with being out of the ordinary – has a special place in the hearts of many.

Patti Perkins, a veteran to both theater and the “Billy Elliot” musical, said touring was exciting yet grueling, with each day a complete focus on the show. Perkins has been with the company for three years, or nearly 700 productions, she said.

“The first year, the tour was a little easier because we sat down in cities … for three to four weeks,” she said. Now, the company typically stays in cities for one week. “I’m getting tired,” she said, laughing.

Perkins has a special connection to San Diego, after coming here in 2000 to perform in “The Full Monty” at The Old Globe Theatre. The show – and Perkins  – eventually moved to Broadway. For this turn in San Diego, the actress plays Billy’s grandmother, the silent but moving character from the original movie.

“It’s very different,” Perkins said of the musical version of her character. Besides having spoken lines, the grandmother character has her own side story that is developed on the stage, including a disappearing youth and abusive husband. The story is played out primarily in the number “Grandma’s Song.”

“I love my moments just singing the song to the child,” she said. “It’s so fun to do and gratifying.”

One of those children is actor Drew Minard, who rotates the title role with three other actors aged 12 to 15. Minard was in rehearsals for five weeks in New York City before starting on the tour. During any given week, Minard said he attends regular ballet classes, rehearsals and tutoring.

Minard said the tour is “really fun” and he does not mind being busy. He gets along with the other actors playing Billy, though he did say it was sometimes difficult on days he does not have to work because most of the cast is on stage.

“We’re like brothers. We all have the same interests and we get along,” Minard said. His mother also travels with the company, giving Minard another outlet when not working.

A key point in the show’s arc that Minard said he likes performing is the pas de deux, or ballet sequence between two characters: Billy as a boy and the mature, adult Billy of the future.

Christopher Howard, who is the understudy for the adult Billy role as well as in the ensemble, spent seven months playing the adult character and said the piece between the two “Billys” was pivotal for the show.

“It is very climactic of Billy’s story,” Howard said. “I think that’s that switching over point where he says, ‘Yes, this is what I want. This is what I’m going to be.’”

Perkins too said the moment was important, calling it a crowd pleaser and a good example of the imaginative side of the production.

“That ballet is totally in [Billy’s] head,” Perkins said. “His young self is dancing with his old self. It’s gorgeous.”

Another side story key for the recurring theme of acceptance is the relationship between Billy and his friend Michael. While hinted at in the movie, Michael’s sexuality and feelings for Billy are played out fully on the stage.

“They have a number together in the show, in the first act, called ‘Expressing Yourself,’” Howard said. “Billy happens to walk in on Michael as he is trying on his sister’s dress.”

Fast forward to act two, and Michael comes out to Billy. A romantic crush on Michael’s part is explored, and Billy, who is not gay, accepts his friend.

“They are certainly not trying to hide who Michael is, and I think that message is important for audiences to see,” Howard said. “The message itself – saying there’s nothing wrong with being who you are and being what you want to be – is really important.”

Working with young actors like Minard and the rest of the cast has been wonderful for both Perkins and Howard. “Not once anywhere has the audience not stood at the end,” Perkins said. “It just gets to people.”

Tickets for the San Diego run of “Billy Elliot the Musical” start at $25. The production takes place at the San Diego Civic Theatre, located at 1100 Third Ave., Downtown. For complete show times and tickets visit broadwaysd.com.