Billy Elliot

When I had read that Billy Elliot is the best British musical, I thought it was just an advertisement slogan, but as I have seen it, I confirm that it is one of the best – and very British. It is implemented into political context (striking miners) and is positive. I cannot say I am impressed with music by Elton John, which is a bit faceless, but I am impressed with the English dance school and general scenery composition.

In the past, I was fed with classical Russian ballet which is very beautiful, but presents rather refined gentlemen. Later I discovered modern European ballet which attempts to combine classical style and more masculine, acrobatic dance – I find it more realistic and entertaining. Billy Elliot is a good example of this art.

The London premier of the musical took place in Victoria Palace Theatre on March 11, 2005.

This chart is less fortunate than that of Mary Poppins, but is strong, with exalted ruler of ascendent, reception of two superiors in angles (detrimented Saturn on MC has exaltation dignity in ascendent), and what is important in public work, it too has Moon in 7th house. With quite a load in 6th house and culminating Saturn, the musical is a labour.

When Billy tries to explain how he feels when dances, and says something like ‘I am free’, this is not just about dancing, but about any creative work. The freedom of creativity is such a temptation nowadays that it confuses even those who have no talent for it. With Billy Elliot, this is not the case: the musical is very talented. Watch the scene where Billy is dancing against the police shields – this is unusual, symbolic and beautiful. Rather different from the ‘The Dying Swan’, but very moving: fighting against adversity that a real talent has to face.