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.

Practically Perfect

I had been striving to attend this musical for about a year, first being confused by high prices, then getting there on wrong days with no performance, etc. Why did I want it so much? Because I love weird fairytales and because… well, because… I am writing this post because there was an astrological reason.

The Mary Poppins story is well known, it is about a magical nanny making people lucky and happy.

The first astropuzzle was: what chart would say “I’m practically perfect” and invent word 'Supercalifragilisticexpialidocious' (super- 'above', cali- 'beauty', fragilistic- 'delicate', expiali- 'to atone', and docious- 'educable')? The answer is: Sun in Leo (perfect) with Moon in Virgo (a bit critical about own perfectness) and retro Mercury in Virgo (loving long smart words). Pamela Travers was born in Australia on August 9, 1899. Sun in Leo, Moon in Virgo – this is the Perfect Nanny!
The second astropuzzle was: why did it attract me so much, just by a plain poster? Why, when I had got there, I was happy about everything, from cast to stage machinery?

The West-End production by Cameron Mackintosh (born on October 17, 1946, with Sun on Spica and velvety Moon in Cancer) was opened on December 15, 2004. Here we can be quite certain about the time when the production was born: in London it happens at 19.30.

Happy events do not need to consult an astrologer: ruler of ascendant in creative 5th in fruitful Sagittarius, cusp of 2nd on Regulus, Rahu in 10th, Moon (public) in reception with Saturn on Procion (and, for spiced traditionalists, with Neptune), strong ruler of 10th, Jupiter on IC, bad guy Saturn packed into 12th – what a happy chart!

And why did it catch me? Ascendent - just on my Sun, Jupiter – on my ascendant, Moon - on my Moon, etc. Resonance. Additionally, I was lucky to attend one of the last performances of Scarlet Strallen after her year in the cast.

Highly recommended to Leo, Aquarius, Sagittarius and Libra. This is your musical, folks!