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‘Oi. Dancing Boy!’ Masculinity, Sexuality, and Youth in Billy Elliot

[1]   A striking thing seems to be happening in contemporary male dance films. In the 1990s and into the new millennium, men suffering from masculinity crises often engage with dance in order to once again make a credible claim to their masculinity. So pervasive is this trend in films like Strictly Ballroom (1992), The Adventures of Priscilla, Queen of the Desert (1994),The Full Monty (1997), and now Billy Elliot (2000) that there even seems to be something of a formula guiding it — disturbing or disturbed femininity triggers a masculinity crisis which results in dance being set up as the recuperative cinematic space of mainly white male masculinity (Somerville). While variations abound in the implementation of this formula, the basic pattern in each film is the same. Somehow, somewhere, men engage with dance to at least temporarily emerge as forthrightly masculine.

[2]   What intrigues me about these films is their engagements with dance. For they all beg the question, ‘Why dance?’ In addressing this question, I want to resist the impulse to say what dance is. Approached genealogically (as Susan Leigh Foster does) or philosophically (as Graham McFee does), conclusions of dance theorists about dance are similar — ‘what we understand as dance is dance’ (65).

[3]   At least initially, dance seems like an odd genre choice for films suturing male masculinity crises to make. Yet this choice of dance might make more sense if we consider how we popularly think about dance and how dance contributes to the construction of a cultural identity, understood as ‘how one’s body renders meaning [and is rendered meaningful] in society’ (Albright, xxiii). Popularly, many meanings of dance circulate in contemporary Western cultures. Dance is commonly thought of as liberating, transformative, empowering, transgressive, and even as dangerous. We popularly think of dance in these ways because dance marks a space in which corporeality is offered to us as a rhythmic, mobile spectacle. Dance is a space that is brimming with what Laura Mulvey has called ‘to-be-looked-at-ness’ (also see Cohan). By making us look at it, dance also asks us to read it. In this respect, dance is no different from any other spectacle or even performance. What makes spectacles so gripping is their demand to be read.

[4]   But here, dance (and particularly dance in films about male masculinity crises) gets complicated. For what is so interesting about the ‘look here’ space of dance in dance films featuring male masculinity crises is that when we look at dance, we are both comforted and surprised. The dance is comforting because it is readable. Contrary to popular understandings of dance (as liberating, etc.), dance is among the most strictly coded performances we have. Dance is coded in terms of steps, scores, styles, genres. And it is these codes that make dance easy to read. We do not usually have problems distinguishing between a ballet and a striptease show, for example. Yet in these dance films it is the dancers who surprise us, for they are not who we expect to see. They are all boys or men. These boys and men do not fit into the codes of dance in ways we expect. Indeed, even in Mulvey’s discussion of cinematic spectatorship, to-be-looked-at-ness is embodied by women, not by men.

[5]   The film In and Out (1997) explicitly spells out popular Western prejudices about dance and their connections to gender and sexuality. When small town high school teacher Howard Brackett, who initially thinks of himself as straight, is outed on national television, he turns to a home-improvement cassette program entitled ‘Exploring Your Masculinity’ to teach himself how to appear to be straight. In one of the cassette’s segments, Howard must resist the temptation to dance while the tape plays ‘I Will Survive’ and the stern macho instructor implores Howard to think about real men like John Wayne and Arnold Swartznegger. Of Arnold, the instructor says, ‘Arnold doesn’t dance. He can barely walk’. But, alas, Howard loses his battle against the beat and dances, at which point the instructor assaults him with a barrage of homophobic insults. The lessons Howard and the film’s viewers learn are clear — dance is a feminine space, if men dance, dance is a queer space, and therefore ‘real men’ (i.e., normal, straight men) do not dance.

[6]   This lack of fit between popular ways of reading dance and male dancers is precisely what drives these contemporary male dance films. This is what makes not only the dance scenes in the films but the films themselves compelling spectacles. We want to watch them. We want to read them. We want to understand how paradoxical positions can be made sense of. And so we not only look at the space of dance (as it seems to demand). But in looking there, we find that dance provides us with several options for re-reading common sense ideas about the space of dance itself, male dancers in this space, and how male dance films construct cultural identities in relation to dance.

[7]   All this suggests that an answer to the question ‘Why dance?’ in films that feature male masculinity crises might be that dance presents us with opportunities to re-read not only the space of dance but the bodies and cultural meanings attached to these bodies found in this space. As an active space in which ‘objectivity and subjectivity — between seeing and being seen, experiencing and being experienced, moving and being moved’ are constantly negotiated (Albright, 3), dance can function as a space in which one’s cultural/corporeal identity is rethought by society and by the ‘self’ at the same time (also see Aalten). And that seems like a pretty good reason why male masculinity crisis films might turn to dance.

[8]   In these films, dance functions as the space men experiencing masculinity crises pass through in order to become something they think they no longer are, they think they used to be, and they wish to be again — unquestionably masculine. Gender is not only performed in and through the space of dance (as Judith Butler claims); it seems to be choreographed (as Susan Leigh Foster claims, “Choreographies of Gender”). And, importantly, the men in the dance films often imagine themselves to be their own choreographers.

[9]   This last point about choreography moves us from thinking about dance as a space there to be read and re-read to dance as a space to be written. I would suggest that by presenting us with opportunities to read and re-read the space of dance and male dancers in this space, contemporary male dance films also begin to re-write the cultural codes that govern dance, dancers, and dance films. Dance functions in these films not only as what Roland Barthes calls a readerly space (a space in which we can take comfort from reading what we have already read before — strictly coded dance) but also as what Barthes (S/Z) calls a writerly space (a space in which meanings cross, cancel, and construct more meanings — men and boys dance to resolve masculinity crises).

[10]   What I find is most interestingly written in this space is heteronormative masculinity. How contemporary male masculinity films re-write heteronormativity in relation to the space of dance bears investigation because of how these films code dance. While I have suggested that dance can be coded in any number of ways, I find one consistent coding in these films is of dance as a queer space. What do I mean by queer?

[11]   The term ‘queer’ lacks definite character. It has been described as ‘contra-, non-, or anti-straight’ (Doty, xv) and as ‘an in-your-face-rejection of the proper response to heteronormativity, a version of acting up’ (Hennessy, 967). I am not completely satisfied with these ways of thinking about the term queer, for they tend to reinforce the opposition between the queer and the heteronormative, whereas I am not convinced that these terms are oppositional (Weber). For this reason, I tend to think of queer in much the same way that Barthes thinks of the plural, as ‘that whichconfuses meaning, the norm, normativity’ (Sade, 109), which is different to standing against the norm or normativity. This is an important difference, because what I think these contemporary male dance films demonstrate is that, paradoxically, heteronormative masculinity is secured in and through queer dance performances.

[12]   In very different ways, each of these films challenges the common sense notion that what is ‘normal’ and what is ‘queer’ are opposites — however those terms are inscribed in specific contexts. Homosexuality does not only make heterosexuality possible as an opposite to it. Heterosexuality happens in homosexual, non-straight, and queer spaces. Indeed, contemporary heterosexuality (and, more broadly, heteronormativity) seems to require a passing in, if not a passingthrough, queer spaces in order to establish itself as ‘normal’ and ‘dominant’. The result is a variety of heteronormative masculinities (as well as queer masculinities). Yet however varied these masculinities are, they all share debts to queerness in their construction — not merely by opposing it (or, for queer masculinities, by embracing it), but by passing through it.

[13]   In this essay, I will investigate how the film Billy Elliot re-writes heteronormative masculinity in relation to the space of dance. I will do this by exploring how the film sets up its relationships among masculinity, sexuality, and dance, arguing that the understandings of and relationships among these terms are dependent upon another concept that structures the underlying meaning system in the film — youth. Billy Elliot employs youth to defer questions of sexuality, questions which — when left undeferred — queer characters, relationships, and spectatorship. I will trace how questions of sexuality are suspended for the youthful Billy, how these questions catch up with the adult Billy, and how they ultimately reinscribe the meanings of masculinity, sexuality, and dance, thereby changing what it means to perform heteronormative masculinity.

[14]   One note of caution. I am not arguing that the film Billy Elliotor the body of Billy cannot be queered from start to finish. As I will point out, queer readings are possible at various moments in the cinematic narrative. What interests me is how the film itself tames these moments by providing an alternative (and I will argue, dominant) code through which to read the film — the sexual innocence of youth, a code the film works extremely hard to construct. My reading of Billy Elliot, then, is not concerned with whether or not Billy and the film might be or are ‘definitively’ queer from scene to scene, but rather with how and when the film itself queers Billy and the narrative by suspending — and thereby subverting — its own dominant code.

[15]   I will offer this reading in four parts, organized around reflections on three central questions and a conclusion. My questions broadly follow the formula identified above — disturbing or disturbed femininity leads to a masculinity crisis which leads to dance becoming the recuperative space of male masculinity — by asking: (1) How does the film code the feminine?; (2) How does the film set up its masculinity crisis?; and (3) How is dance coded as both queer and as recuperative of heteronormative masculinity? In my conclusion, I will speculate on the impossibility of securing heteronormative masculinity.

Billy Elliot

[16]   Billy Elliot is set in a coal mining village in country Durham, England during the mid-1980s miners’ strike. It is the story of the Elliot family — eleven-year-old Billy (Jamie Bell), his older brother Tony (Jamie Draven), their father (Gary Lewis), and their maternal grandmother/mother-in-law (Jean Heywood). Dad and Tony are striking miners, struggling to support this motherless family and give Billy a proper childhood. Part of that proper childhood involves Billy taking boxing lessons. But across the gym at one of these lessons, Billy discovers — and joins — an all-girl ballet class. The plot focuses on the tension created between Billy’s preparation for an audition at the Royal Ballet School under the tutelage of Mrs. Wilkinson (Julie Walters) and his family’s expectation that Billy will follow more manly pursuits.

[17]   The film wastes no time coding the feminine. It does so in the title sequence. The film opens showing young Billy in the bedroom he shares with Tony. The camera focuses on an old record player. With only his arms and hands in frame, Billy removes an LP from its well-worn sleeve and fumblingly places it on the turntable. After two attempts, Billy successfully maneuvers the needle at the start of ‘Cosmic Dancer’ by T. Rex. As Marc Bolan sings ‘I was dancing when I was twelve’, Billy hurriedly steps onto the bed in the background and begins to bounce up and down. Without the camera shifting its focus, we see Billy in the background from the waist down, clad in t-shirt, shorts, socks, and trainers. The camera cuts to the empty wallpapered wall. In a shot reminiscent of the opening sequence of The World According to Garp (1982), Billy’s head enters the frame from below in slow motion. Bolan sings, ‘I was dancing when I was out./ I was dancing when I was out./ I danced myself right out the womb. / Danced myself right out the womb. / Is it strange to dance so soon?’ Still focused on the wallpapered background, now surrealistically too large for the small room it is meant to occupy, the camera cuts to parts of Billy’s dancing body — shoulder, chest, hand, foot, gleeful face — then pulls back to show Billy’s full-bodied energetic movements.

[18]   The bell of an egg timer sounds. The action resumes at normal speed. Billy, fresh from his dance, rushes into the kitchen to assemble a breakfast of eggs, toast, and tablets. ‘Cosmic Dancer’ continues, ‘I danced myself into the tomb’. Billy playfully headbutts the clothespin bag hanging from a washing line in the kitchen, picks up the breakfast tray, and uses his head again, this time to slide open the door to his Grandmother’s adjoining room. Bolan sings, ‘Is it wrong to understand/ the fear that was inside a man?’ Cut to interior of Grandmother’s room. The room is empty. Cut to Billy’s anxious face. Bolan, ‘What’s it like to be alone?’. Billy, ‘Oh, no!’ The camera cuts between shots of Billy full-front, then legs only, running outside in search of his Grandmother. Billy pauses at the edge of a field, looking in the wrong direction. Bolan, ‘I danced myself out of the womb’. Behind Billy, we see Grandmother walking in an overgrown field. Billy sees her, approaches her, taps her on the shoulder. Grandmother is startled. A concerned Billy, ‘Grandma, your eggs’. Grandma’s face registers no recognition. ‘It’s Billy.’ As Billy guides his confused Grandmother out of the field, the camera reveals the ridge above on which police are collecting their riot gear from their vans, readying themselves for their daily encounter with the striking miners.

[19]   In addition to situating the film historically and politically, this sequence successfully introduces us to Billy and positions him and the narrative in relation to the feminine. Billy is a wannabe dancer. This is the primary fact established by the film. As the Bolan lyrics and the Garp intertext suggest, dance is a life-force for Billy. For Billy to be Billy, he must dance. And, indeed, Dancer was the title under which the film was originally to be released. This wannabe dancer and his family experience the feminine as either absent or unreliable. The sheer physicality of feminine absence is depicted when we follow Billy’s gaze into wandering grandmother’s vacant room and, later, into wandering grandmother’s vacant eyes. This initial sense of absence is soon multiplied and intensified, for we learn that Billy’s mother has recently died. Death and senility in the places where the feminine ought to be in this family film conjoin to leave the space of the feminine empty. The feminine (which the film codes as people performing stereotypically female activities) is partially filled in by eleven-year-old Billy, the only available person who can consistently carry out these roles in the family.

[20]   The film codes the feminine, then, along the familiar psychoanalytic axis of lack leads to excess. What is unfamiliar about how this axis of lack/excess is employed in the film is that instead of lack and excess being located within one physical body, it is located in one social body, the Elliot family. (The lack/excess axis also applies to another social body in Billy Elliot, the striking community in which lack of adequately paid work leads to excessive responses by the state.) It is this family’s lack of a mother and a functioning grandmother that leads to an excess of feminine activities like cooking and caring in Billy. That young, functionally feminized Billy also wants to be a dancer contributes to the film’s central masculinity crisis. But, surprisingly, it is not Billy who is having a masculinity crisis. It is his father.

[21]   How does the film set up its masculinity crisis? In Billy Elliot(as in the other films I mentioned earlier), the masculinity crisis is triggered by a disturbance in the feminine and played out through the father/son relationship. To understand how the film sets up its masculinity crisis, it is important to grasp how father and son are positioned in the film generally and in relation to one another.

[22]   Almost immediately, the film establishes the fact that Billy’s father is widowed. He has no wife to reflect his masculinity back to him. Nor is there a feminine substitute — a girlfriend or the grandmother — who could perform this role. For the father, the feminine is experienced not only as absence but also as loss. Dad lost his wife to death, and he is losing his mother-in-law to senility. In addition to experiencing the feminine as loss, Dad has at least temporarily lost his livelihood, for he is a striking miner. This means that Dad is unable to provide adequate financial support for his youngest son Billy, while his older son Tony who has followed him into the mines seems (like his father) to have no future.

[23]   These losses of wife and work combine to position Dad as ‘not man enough’ for either of his sons. This is made explicit when Dad and Tony clash over their responses to the strike. Tony is fed up with the abuse the miners are taking and is determined to fight back. One night, Dad discovers Tony as he takes a hammer from the toolbox, readying himself for mayhem. When Dad warns him to stop, Tony replies, ‘You haven’t got it in you, man, you’re finished. Since Mam died you’re nothing but a useless twat! What the fuck are you gonna do about it?’ What Dad does about it is punches Tony in the nose, but Tony leaves anyway, and is eventually arrested.

[24]   If Dad’s example as a striking miner disappoints Tony, his example as a sportsman is not compelling enough to have Billy follow in his footsteps. Billy stops pursuing boxing, the sport of his father and of his father’s father, and takes up ballet, which Dad makes clear he thinks is for ‘poofs’. When Dad discovers Billy in a ballet class, he pulls Billy out of class and forbids him from taking future lessons. Billy is disappointed that his father will not allow him to dance. Feeling misunderstood, he continues his ballet lessons in secret. All of these factors combine to give Dad a masculinity crisis.

[25]   While this might explain why Billy’s father is having a masculinity crisis, it does not explain why Billy, a functionally feminized boy with a passion for dancing, is not having one. What explains this is that Billy’s sexuality is not in question. This may seem surprising since the dance that Billy engages with is ballet, and males in ballet still confront stereotypes that they are homosexuals (Buckroyd, and Burt). Yet while this might be how ballet is popularly read, it is not how is it is read by dance theorists (nor by the majority of dance films featuring ballet). Even though popular perceptions about men in ballet lead many to question the sexuality of male ballet dancers, it is argued by some dance theorists (excluding Foster, Choreography and Narrative) that ballet traditionally reserves positions of power for men. Classical ballet plays off of what Ann Daly refers to as 19 th  century gender stereotypes of ‘female difference/male dominance’. Cynthia Novack argues that, choreographically and narratively, classical ballet ‘evokes romantic, heterosexual love on both a literal and metaphoric level, emphasising opposing characteristics and distinctions between male and female'(39). Commenting on male ballet dancers’ historic move from center stage to ‘the status of hydraulic lifts for the lighter-than-air ballerinas’, Roger Copeland suggests that this might not signify a demotion of men as much as it might play into a ‘sexual politics [that] dictate[s] that the woman be displayed and the man do the displaying’ (141). And Alexandra Carter has even gone so far as to characterize classical ballet as patriarchal. What this suggests is that even though it might popularly be read otherwise, ballet is not necessarily a queer space for men.

[26]   Working both with and against popular perceptions of ballet,Billy Elliot codes ballet as athletic. The rawness of Billy’s talent for dance is displayed physically in his gymnastic approach in his dance lessons and his later audition for the Royal Ballet School and emotionally though a burgeoning, unbounded masculinity, most apparent in Billy’s ‘dance of rage’ when Dad prohibits Billy from dancing ballet. That Billy thinks of dance as a male and masculine space is underscored after his first excursion into ballet when he receives encouragement from Mrs. Wilkinson to join the class properly. Mrs. Wilkinson and her daughter Debbie (Nicola Blackwell) exit the scene, leaving Billy staring into an imagined future framed in part by a cinematic sample of the past. As the music ‘Top Hat, White Tie and Tails’ plays, Billy taps a large stick he is carrying twice on the ground, kicks it with his foot, and swings it over his shoulder like a cane. The film cuts to a scene from Top Hat (1935) in which Fred Astaire and some twenty other male dancers are dancing with canes. While this scene is suggestive of the homosociality of dance, Top Hat narratively places Astaire’s dancing body and (by idealistic identification) Billy’s dancing body into a space that masculinizes, heterosexualizes, and utopianizes dance (Dyer).

[27]   Lest this subtle inscription of dance as masculine and heterosexual be overlooked, Billy Elliot provides its viewers with two characters they either know or suspect are homosexual, who serve as points of contrast to Billy himself. The most obvious of these is Billy’s best friend Michael (Stuart Wells), first introduced chiding Billy about the futility of boxing, later revealed to us and to Billy to be a cross-dresser, and eventually confirmed to Billy and to a viewing audience primed to conflate male cross-dressing with homosexuality to be a ‘poof’ (Garber). Michael’s strong presence throughout the film ensures that viewers ‘know’ how a homosexual behaves and what a homosexual looks like, making a male dancer like Billy appear to be straight in comparison. The film also introduces us to Simon (Matthew Thomas), a boy Billy encounters at his ballet school audition. Billy is in the changing room after his audition, upset by his perception that it has all gone badly, when Simon attempts to comfort him. Simon sits very close to Billy on a bench, speaks soothing words in his middle-class accent, and eventually puts his arm around Billy. Billy reacts by bludgeoning Simon, who he refers to as ‘a bent bastard’. Compared to either Michael or Simon, then, Billy appears to be ‘normal’.

[28]   Even so, there are moments in the film when Billy’s sexuality is open to question — when Billy acquiesces to a cross-dressed Michael putting lipstick on him, when Billy kisses Michael good-bye as Billy leaves for ballet school, and when Billy declines Debbie’s offer to show him her fanny. I would suggest that none of these incidents necessarily queers Billy, in the sense of removing Billy from the category of ‘the normal’, because they are all coded through that value that, when questions of sexuality arise, trumps all other values in the film. That value is the sexual innocence of youth. While sociological research (much less psychoanalytic theory) does not support a claim to the sexual innocence of youth either at the dawn of the new millennium or in the mid-1980s, Billy Elliot can credibly make such a claim on Billy’s behalf because it is not primarily an historical film. It is a nostalgia film — nostalgic for a 1980s Britain in which viewers might imagine sexual innocence existed, just as they might imagine that the working class had a fair deal economically prior to their defeat in the mid-decade miners’ strikes.

[29]   In this context, playing with gender codes in the privacy of Michael’s home, being affectionate toward your best friend at a life-changing moment, and not being quite ready for a peek at a fanny for it raises all sorts of embarrassing questions like ‘what do we do next?’ and ‘what does this make us to one another?’ are not surprising behaviors for an eleven-year-old boy. They combine to make Billy not queer but sweet, which is part of the reason Billy Elliot is such a mainstream success. And, indeed, young Billy’s dance sequences that are not explicitly masculine do not necessarily make Billy a ‘poof’ either, for they take care to infantalize Billy. Young Billy’s dancing body is always presented as either masculine or childlike or both.

[30]   Even Michael’s and Simon’s sexualities are rendered harmless (or at least less harmful) by their youth. Michael’s dressing in his sister’s clothes and mother’s make-up is narratively overcoded with innocence and naivete. When Billy stops by Michael’s house and Michael answers the door wearing a dress, a shocked Billy asks Michael what he is doing. Michael nonchalantly replies, ‘Nothing. Just dressing up.’ When Billy asks if they will get in trouble for this kind of dressing up, Michael laughs off his question, saying, ‘Don’t be stupid. Me dad does it all the time.’ In the case of Simon, it may not be his sexuality at all that is offensive to Billy and to an audience identified with Billy, but Simon’s class. Simon’s middle-class mannerisms are scripted as out of place in his encounter with Billy, even though we know that it is working-class Billy who is out of place at the firmly middle-class Royal Ballet School.

[31]   Youth, then, insures that questions of sexuality are postponed for Billy and the (other) possibly queer boys he encounters. This protects Billy and the cinematic narrative as a whole from being necessarilyqueered. Surely, queer readings of these scenes and the body of Billy are possible at this point in the film. But by privileging a-sexual youth over queer alternatives, the film insures that Billy can still be read as heterosexual, as normal, as not queer. It is this deferral of questions of sexuality through youth that explains why Billy is not having a masculinity crisis. He is too young to have one. He isn’t even a ‘man’ yet!

[32]   Even in the possibly queer space of dance (and I will explain later how I think the film queers dance), a reading of Billy as just sweetly innocent is available to viewers. For example, the film’s most blatantly ‘queer’ scene is sandwiched between two scenes which trouble any attempt to read it as candidly queer. The ‘queer’ scene affirms the film’s blurring of ballet and boxing, foreshadowed by Billy’s balletic boxing before he began ballet lessons and his consistent draping of his ballet slippers around his neck like boxing gloves. The scene blurs ballet and boxing by having a tutu-clad Michael receive a ballet lesson from Billy while both boys stand in the boxing ring. Read as a single moment, it is difficult to resist a queer reading of this scene. Yet just prior to this scene, Billy has refused Michael’s pass — a pass that leads to Michael’s confession that he is indeed a homosexual — to which Billy responds by explaining to Michael and to the audience, ‘Just cos I like ballet, doesn’t mean I’m a poof, you know’. And the tutu scene is followed by Billy’s most exuberant ballet, performed for Dad who discovers the boys in the gym. Rather than worry Dad about Billy’s sexuality, this encounter enables Dad to finally see Billy for who he ‘really’ is — a dancer — and sends Dad running off to Mrs. Wilkinson asking her how to make Billy’s ballet school audition possible. This sequencing, then, allows for a jettisoning of the queer content of the tutu scene, at least as queerness applies to Billy. While in this sequence Michael relinquishes any claim to youthful, sexual innocence by ‘coming out’, Billy does nothing of the sort. And his acceptance of his best friend’s sexuality works to put a mainstream audience at ease, for it affirms both their liberal tolerance of ‘alternative lifestyles’ and their belief in the norm of heterosexuality (for tolerance always functions by reasserting norms), even though the film presents no evidence that Billy is heterosexual.

[33]   It is important to point out that Billy’s youthful sexual innocence is in contrast to all the other sons in the father/son film pairings. In Strictly Ballroom, it is the young adult son’s own transgressions that bring to light the past transgressions of his father. In Priscilla, the son knows (and must teach his father) that drag is the most macho form of dance. And in The Full Monty, the son is complicitious in the striptease, making his father’s attempts to protect him from the sexual implications of the performance a joke. What all four films suggest is that the sons have something their fathers do not have. In Strictly Ballroom, Priscilla, and The Full Monty, this something else comes across as extra knowledge; these sons are wiser, hipper, or freer than their fathers.

[34]   In the case of Billy Elliot, Billy’s excess is not of knowledge but an excess of youthful non-knowledge that shields him from transgressions in what the film codes as feminine and queer spaces (household labor and dance, for example). This does not mean that Billy is not wise beyond his years in other ways. He is, after all, the working-class son of a striking miner, exposed to the day-to-day realities of economic deprivation and police brutality that result from his socio-economic position. It does mean, however, that juxtaposed to Billy’s keen grasp of his class and its consequences is his willful negotiation of non-knowledge around the axis of sexuality. This is particularly evident in a scene in which Dad tries to discuss ‘the facts of life’ with Billy — that male ballet dancers are queers.

[35]   In their exchange, Billy resists ‘knowing’ the ‘facts’ his father insists Billy already knows — that male ballet dancers are homosexuals. Even when Billy allows the unsayable to be said — protesting to his father about ballet that ‘It’s not just for poofs’, this concession to Dad’s ‘knowledge’ of Billy’s ‘knowledge’ is immediately withdrawn when Billy offers Wayne Sleep as his example of an athletic dancer, for it is commonly known in 1980s Britain that Wayne Sleep is a homosexual. Whether Billy does or does not know the ‘facts’ as Dad tries to impress them upon him, it is his will not to know — his persistent deflection and deferral of these ‘facts’ — that protects him and his family from what this knowledge could do to them. It is akin (albeit in reverse) to a child pretending to believe in Santa Claus when all suspect he no longer does. Youth does indeed have its privileges.

[36]   Arguing that Billy’s youth protects him and his family from the queer possibilities of dance means the answer to my third question, ‘How is dance coded as both queer and as recuperative of heteronormative masculinity?’ is not immediately evident. I will discuss this question in two parts, first addressing how the film queerly codes dance and then how the film utilizes the queerly coded space of dance to recuperate heteronormative masculinity.

[37]   Billy Elliot not only acknowledges but encourages traditional stereotypes associated with the gender and sexuality of dance. The film engenders the space of ballet as feminine by giving us an all-girl ballet class. And it codes ballet as stereotypically queer in the scenes in which Dad discusses the ‘facts of life’ about ballet with Billy and in which Michael wears a tutu. And yet it is not quite so simple. There are complicated tensions around gender and sexuality in the film’s codings of dance and dancers, something the film marks even for a mainstream audience with 1970s Glam Rock icon Marc Bolan dominating the soundtrack.

[38]   While the film gives us traditional stereotypes about dance to read, it also works hard to re-write dance as a not necessarilyfeminine or queer space because dancers are not necessarily feminine or queer. And, of course, it does this work through the youthful character of Billy. Young Billy is not a ‘poof’ (as he repeatedly tells us, a disavowal which might as easily mark Billy as gay as unmark him as such). In the scene in which Billy teaches Michael ballet, we notice not only that Michael is wearing a tutu, but that Billy is not wearing one. And we know from the film’s opening sequence that while ballet may be the type of dance available to Billy, Billy is not so much a ballet dancer (or, as the film In and Out refers to dancing men, a ‘big ballerina’) as he is a dancer, full stop. This is why Billy can innocently and without prejudice on the part of a mainstream audience acknowledge Michael’s hail, ‘Oi. Dancing boy.’ And it is this hail that protects Billy from the feminine and queer possibilities of dance. For Michael hails a youthful Billy. This ‘dancing boy’ is interpellated not so much into but beyond feminine and queer dance spaces.

[39]   This is in part why dancing is never a problem for Billy. Billy’s problem is not that he is a dancing boy but that his father cannot overcome his fears and prejudices about dance and male dancers in order to allow Billy to just be Billy, dancer. This is where the central tension in the film lies. The turning point in the film is not when Billy is accepted into the Royal Ballet School. It is when Billy’s potential as a dancer finally penetrates his father’s consciousness, and this dancing boy provides his father with a way through his masculinity crisis.

[40]   Dad will succeed in resecuring a legitimate claim to heteronormative masculinity by giving ‘wee Billy’ a chance to be a ballet dancer. Of course, for cinematic effect, things must go terribly wrong before they go right. Dad’s initial plan to pay for Billy’s audition in London — by crossing the picket line to work in the mines — exacerbates his masculinity crisis. Recognizing his father on the bus carrying the scabs into the mine, Tony follows Dad to the mine. As Tony implores his father not to enter the mine, Dad explains himself, saying things like, ‘I’m sorry, son. We’re finished, son. What choice have we got, eh? Let’s give the boy a fuckin’ chance.’

[41]   Despite Dad’s impassioned defense of his action to Tony, Dad cannot bring himself to be a scab, even for Billy. Tony takes his sobbing father away from the pit, unable to be a miner and still unsure how to be a proper father. And then he figures it out. Dad pawns his dead wife’s jewelry, which provides enough money for the trip to London. Billy is awarded a place in the Royal Ballet School. Upon hearing the news, Dad runs to the working men’s club to tell his mates, only to learn that the miners have settled the strike. They will return to work, defeated, Dad and Tony’s decline marked by their journey into the pit in a descending lift. Even though Dad temporarily recovers his job, this is not what restores him to the proper place of father and man. It is his engagement with the space of dance, through his son Billy, that makes Dad properly masculine once again. This point is statuesquely suggested by Dad and Billy’s good-bye hug at the bus station, in which Dad holds Billy like a male ballet dancer lifting a ballerina.

[42]   The final sequence of the film tells us that Dad’s struggles have all been worthwhile. Set some 10-15 years after the rest of the film, we find Dad and Tony in London attending a ballet in which Billy is starring. With Dad and Tony watching, Billy leaps athletically onto the stage in the final shot, as the soundtrack plays T. Rex’s ‘Ride the White Swan’. With this, the film’s swan metaphor (introduced and enacted primarily through the character of Mrs. Wilkinson, her supporting subplot being a sort of ‘Educated Rita educating Billy’) seems to have arrived at its logical conclusion. Dad’s sacrifices for and support of his son have enabled Billy the working-class duckling to mature into the middle class and properly masculine swan.

[43]   Given all of this, how is it possible to argue that Dad’s heteronormative masculinity is resecured through dance as a queer space, when I have suggested that young Billy is protected from the feminine and queer possibilities of dance and when what enables Dad’s renewed masculinity is not only Billy’s gift as a dancer but his wife’s jewelry (i.e., the return to the feminine which in psychoanalytic discourse is traditionally how masculinity is secured, even if, in this instance, the feminine is dead)? I make this argument not so much based on the ‘dancing boy’ but on Billy as a dancing man. For, if as I have suggested, Billy’s youth is the code the film employs to protect Billy from the feminine and queer possibilities of dance, his loss of youth in the final sequence works to queerly position Billy.

[44]   The adult Billy is less able to resist the queer possibilities of ballet than is the youthfully innocent Billy. The film makes this point in its selection of the ballet in the final sequence. The ballet is, unsurprisingly,Swan Lake. But it is not just any Swan Lake. It is Matthew Bourne’s adaptation of Swan Lake (1996), in which all of the swans are male. The male lead in Bourne’s Swan Lake, then, is not the prince but a doppelganger male swan, played by the adult Billy (Adam Cooper). Billy appears in Bourne’s ballet as both the barefooted, bare-chested white swan who is the object of the Prince’s desires and as the evil, leather-clad swan who seduces the queen and drives the prince mad with jealousy. Sally Banes argues that, when the lead of Swan Lake is danced by one ballerina, ‘the monster and the angel…wrapped up in a single woman’ suggests ‘an underlying female dualism’ (61-62). In Bourne’s parodic version of Swan Lake, this dualism is not only of good and evil but of homosexuality and heterosexuality combined in one male dancing body, with the heterosexual located in the place the ballet reserves for evil.

[45]   What all this suggests is that while up to this point Billy Elliothints at the queer possibilities of ballet and protects the youthfully innocent Billy from these queer possibilities, the final scene brings both ballet and Billy in ballet into queer spaces. To be clear here, I am not making an argument about whether Billy is or is not a homosexual. This point is undecidable. The point I am arguing is that Bourne’s ballet places Billy — gay or straight, we cannot know — into the space of queer performance. In Bourne’s ballet as in the final sequence of Billy Elliot, questions of sexuality are not deferred. Rather, they seize our attention.

[46]   What does this reading of Billy Elliot tell us about masculinity, sexuality, and dance, particularly in relation to the possibilities of securing heteronormative masculinity through queer performativity?

[47]   On a first reading, Billy Elliot is a mainstream film in its codings of femininity, masculinity, and sexuality. The feminine is troubled or troubling. The masculine needs to be and is recuperated. And a line always exists between what is ‘normal’ and what is ‘queer’, even if the film changes the boundary between ‘normal’ and ‘queer’ by widening the realm of normal male behaviors (presumably straight boys dance ballet) and exaggerating more and more what queer behaviors are supposed to be (a move that is particularly evident in the film’s final portrayal of Michael as a grown-up, out, cross-dresser apparently accompanied to the ballet by his black boyfriend , the only black character in the film). Even so, Billy Elliot, like the other contemporary male dance films I have identified, is a bit twisted, for it secures heteronormative masculinity in queer spaces and through queer performances. It is only though Billy’s relationship to ballet that Dad moves from a dying patriarchal masculinity into a new male masculinity based upon patriarchal uncertainty, with loss as its central motif. But because ballet is ultimately queered inBilly Elliot, the film’s ending not only fails to suture heteronormative masculinity back into a completely ‘normal’ space; it rips the idea of the normal vs. the queer wide open. To illustrate this point, imagine if the film rolled a bit longer, and we got to see Dad watch Billy in Bourne’s choreographed love scenes with the prince. Imagine Dad squirming in the knowledge that he made all of these queer dance scenes possible for Billy, which we know in turn made Dad’s own heteronormative masculinity possible?

[48]   The film, of course, does not end with Dad’s realization that his and his sons’ masculinities are queerly secured. It ends instead with Billy’s powerful leap, the ultimately balletic masculine move. And with this, the film is trying to have it both ways — by openly giving a wink and a nod to the queer crowd while, for the mainstream audience, dulling the radical edges of queer performances and the radical knowledge that heteronormative masculinity is often constructed through queer performances. And, of course, it is because this knowledge is dulled and delayed (if not missed altogether) for a mainstream audience that the film is such a success. The film encourages its viewers to look at adult Billy as the successful embodiment of the sexually innocent dancing boy they identified with throughout the film. And by not giving a mainstream audience enough clues as to just whose Swan Lake is being performed, it denies that audience the opportunity to imagine a slightly longer version of the film that cuts between adult Billy dancing Swan Lakeand Dad and Tony watching Billy’s performance. All of this is reminiscent of Teresa de Lauretis’ observation about lesbian representations, that because ‘conventions of seeing, and the relations of desire and meaning in spectatorship [remain] partially anchored or contained by a frame of visibility that is still heterosexual,’ it is extremely difficult to alter the ‘standard vision, the frame of reference of visibility, of what can be seen‘ (33, 35; emphasis in original).

[49]   Even so, Billy Elliot refuses to let a restabilized heteronormative masculinity remain secured. This is because the film introduces us to the adult, queered (if not queer) Billy, which in turn introduces queer spaces and queer spectatorship into the film in ways that complicate any attempt to separate the heteronormative from the queer.

Acknowledgements : This research was supported by a grant from the British Academy. Thanks to Anna Aalten, Terrell Carver, Annette Davison, Amy Kenyon, Griselda Pollock, and two anonymous referees for their helpful comments, as well as to participants in the ESRC ‘Sexuality: Representation and Lived Experience’ seminar at the University of York, UK and at seminars at York University, Toronto, and Trinity All Saints College, Leeds.

Works Cited

• Aalten, Anna. “Performing the Body, Creating Culture.” The European Journal of Women’s Studies. 4(1997):197-215.
• Albright, Ann Cooper. Choreographing Difference: The Body and Identity in Contemporary Dance. Hanover: Wesleyan University Press/University Press of New England, 1997.
• Banes, Sally. Dancing Women: Female Bodies on Stage. London: Routledge, 1998.
• Barthes, Roland. S/Z: An Essay. Trans. Richard Miller. New York: Hill and Wang, 1974.
• Barthes, Roland. Sade, Fouier, Loyola. Trans. Richard Miller. New York: Hill and Wang, 1976.
• Buckroyd, Julia. The Student Dancer: Emotional Aspects of the Teaching and Learning of Dance. Princeton: Princeton University Press, 2000.
• Burt, Ramsey. The Male Dancer: Bodies, Spectacle, Sexualities. London: Routledge, 1995.
• Butler, Judith. Gender Trouble. London: Routledge, 1990.
• Billy Elliot. Tiger Aspects Pictures Limited, 2000.
• Carter, Alexandra. “Feminist Strategies for the Study of Dance.” In Lizbeth Goodman, ed. The Routledge Reader in Gender and Performance. London: Routledge, 1998:247-250.
• Cohen, Steven. “‘Feminizing’ the Song-and-Dance Man: Astaire and the Spectacle of Masculinity in the Hollywood Musical.” In Steven Cohan and Ina Rae Hark, eds. Screening the Male: Exploring Masculinities in Hollywood Cinema. London: Routledge, 1993:46-69.
• Copeland, Roger. “Dance, Feminism, and the Critique of the Visual.” In Helen Thomas, ed. Dance, Gender and Culture. London: MacMillan, 1993:139-150.
• Daly, Ann. “Classical Ballet: A Discourse of Difference.” Women and Performance 3.2(1987/88):57-67.
• De Lauretis, Teresa. “Sexual Indifference and Lesbian Representation.” In Sue-Ellen Case, ed. Performing Feminisms: Feminist Cultural Theory and Theatre. Baltimore: Johns Hopkins University Press, 1990.
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• Dyer, Richard. “‘I seem to find the happiness I seek’: Heterosexuality and Dance in the Musical.” In Helen Thomas, ed.Dance, Gender and Culture. London: MacMillan, 1993:49-65.
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• Cynthia Weber

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17 Billy Elliot and Its Lineage: The Politics of Class and Sexual Identity in British Musicals since 1953

Robert Gordon is Professor of Theatre and Performance and Director of the Pinter Centre for Performance and Creative Writing at Goldsmiths, University of London. Publications include essays on post-war British theatre, South African theatre, Shakespeare, Wilde, Pirandello and Stoppard: Text and Performance (1991). His broad experience as actor and director informs the survey of modern acting theory in The Purpose of Playing (2006). Harold Pinter: the Theatre of Power was published in 2012 and his production, Pinter: In Other Rooms, toured to Berlin, Prague, Budapest and Thessaloniki in 2011. In 2012 he directed Kander and Ebb’s Steel Pier in Brno and he is co-editing the Oxford Handbook of the British Musical.

• Published: 10 January 2017
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In the years since 1954, the British musical has in various ways represented the changes that have occurred in social and political attitudes. The camp style of Salad Days and The Boy Friend encodes its critique of the Conservative government’s repressive policies of heteronormative conformity in the early 1950s by exploiting popular traditions of pantomime and music hall performance to valorize an emergent gay sensibility, while the theatre of Joan Littlewood at Stratford East utilized these same popular forms in the construction of a socialist theatre capable of articulating a working-class culture. These two recurrent conceptions of alternative political performance—the subversive queer/camp strategy and the Marxian aesthetic of alternative politics and culture—interact and are combined to startling effect in Billy Elliot , whose dialectical arguments around the relationship between class and gender/sexual orientation, popular and ‘high’ art provide a prime example of British theatre at its most socially aware.

Billy Elliot: The Musical in Its Social and Artistic Contexts

After the experiments in new musico-dramaturgical forms in British musicals from the 1970s to the 1990s, 1   Billy Elliot: The Musical (2005) returns to older forms of popular entertainment in order to evoke a disappearing world of northern working-class culture. Remarkably, the musical sets the tacky showbiz glitz and camp comedy of stage and television variety shows 2 in dialectical opposition to the rude vitality and political directness that typified the ‘rough’ aesthetic of British socialist theatre between the 1950s and the early 1980s to create a synthesis that comprises a new kind of folk aesthetic. Critiquing the rigidly sexist and homophobic paternalism of working-class culture while at the same time lamenting the destruction of the communitarian values that sustained it, the show’s dramaturgical strategies owe as much to the utopian ethos of fifties musical comedies such as The Boy Friend (1953) and Salad Days (1954) as to the revolutionary politics of working-class drama from the seventies.

Without some understanding of its political context, Billy Elliot makes sense only as a version of the well-worn story in which a poor but talented youngster battles to realize his/her dreams of success. Yet this is precisely the way in which the musical has been interpreted by the New York critic John Lahr. Amidst a chorus of approval for the show by London critics after its premiere—and by Broadway reviewers three years later—Lahr’s review of the West End production of Billy Elliot in the New Yorker (July 2005) stands out for its ethnocentric blindness to the distinctively British context that informs the musical:

The British love musicals; they just don’t do them very well. […] The jazz of American optimism, which lends elation and energy to the form, is somehow alien to the ironic British spirit. At its buoyant core, the American musical is the expression of a land of plenty. England, on the other hand, is a land of scarcity—the Land of No, as a friend of mine calls it. 3

Lahr’s refusal to comprehend the specific forms of British entertainment as expressive of a wholly other cultural identity betrays a reflex of American imperialism that neatly inverts the historical posture of British colonial superiority. Nowhere in Lahr’s review is there an acknowledgement that the miners’ eventual capitulation in 1985 was a defining historical moment, symbolizing the Thatcher government’s victory over trade union power and the triumph of monetarist policy. A British audience will, however, be profoundly aware of how the consequent destruction of Britain’s industrial base created an opposition between the devastated mining and manufacturing regions of Wales and the north, and the wealthy south of England, leaving a legacy of class hatred that festered for decades. Paradoxically, Lahr’s condescending critique of Billy Elliot serves merely to underline the deeper cultural differences between British and American musicals too often ignored in their frequent transatlantic crossings:

By nature, the musical genre deals with fantasy, not fact; it is at its most political when it delivers pleasure, not dogmatic persiflage. [Lee] Hall doesn’t seem to understand this, and his prolix, repetitive book quickly loses its way. When the miners are the issue—and their story eats up a fair portion of the saga—the musical stalls; the proletariat here really are lumpen. When Billy dances, however, everything comes alive.

Lahr appears to presume that, as entertainment, the skilful representation of exceptional individuals by gifted performers creates stage magic, whereas the convincing enactment of the mundane lives of workers is simply boring. Articulating the deeply rooted credo of American liberalism, Lahr implies that, rather than unfolding coherent and believable narratives, musicals should provide opportunities for virtuoso performers to demonstrate their special talent: ‘When Billy is doing his twists and twirls, his youthful entrechats and jetés, the immanence of the extraordinary is credible. When he tap-dances, it isn’t; Savion Glover he ain’t.’ 4 Inherent in Lahr’s judgement is the assumption that it is the chief function of the musical to valorize the star system. While it is true that the majority of Broadway musicals celebrate the success of the extraordinary individual both in fact and in fiction, British musicals are usually motivated by more communitarian aims. In sociocultural terms, Billy Elliot is interesting precisely because its dramaturgical structure opposes the capitalist ideology of acquisitive individualism against the collectivist values of social welfare.

The Camp Sensibility in Popular British Entertainment

It is notable that Billy Elliot exploits conventions of drag and camp performance from music hall, pantomime, and end-of-the-pier shows to destabilize patriarchal notions of the biological determination of gender and sexual identity. It is the first British musical to explore the connection between homophobic anxiety and the cultural implications of homosexual orientation within a society that prizes masculine strength as a heroic virtue. By distinguishing between homosexuality and effeminacy and undermining the incorrect assumption that ballet is a profession for women and gay men, the musical has achieved historical significance in being the first mainstream British entertainment to directly interrogate homophobic prejudice as a function of patriarchal society. 5 In doing so Billy Elliot employs a long tradition of camp in British popular culture as a strategy for undermining patriarchal assumptions of gender and sexuality.

A number of British entertainment forms that originated in the nineteenth century exhibited a sensibility that might today be labelled ‘camp’: pantomime, burlesque, farce, music hall (later variety) performance, and end-of-the-pier concerts were characterized by eccentric stage personalities, cross-dressing, parody, and comic drollery that was both deadpan and facetious. Such types of entertainment persisted until the advent of broadcast television transformed many popular kinds of stage entertainment into TV comedy and variety shows 6 in the late fifties. As had been the case with Edwardian music hall stars like Marie Lloyd and George Robey, the biggest stage stars between the 1920s and 1950s, such as Gracie Fields and George Formby, achieved popularity with working- and middle-class audiences alike, perhaps through the success of their films. 7 On the other hand, musical comedy appealed predominantly, if not wholly, to middle- and upper-class audiences, tending to employ singers, dancers, and comic actors trained as theatre performers rather than music hall artistes. 8

The camp sensibility that formed an important component of predominantly working-class types of entertainment was arch and facetious, ridiculing clichés and fetishizing outmoded forms by means of both nostalgia and parody, but during the 1890s the attitude was adopted and elaborated by a queer subculture. Camp’s knowing emphasis on sexual innuendo may well have lent itself to the subversive satire of a queer milieu in which the fixity of gender positions was undermined by unrestricted sexual role-play. The interwar period witnessed the gradual development of a hidden gay subculture in British cities; this was even more pronounced during the war years but repressive policing after 1951 ensured that this bohemian subculture, shared perhaps by artists and theatre people, remained more or less invisible to the bourgeois majority. There was an invented language called Polari by which one insider could recognize another, allowing apparently innocent behaviour to be interpreted in a coded way.

In the mainstream forms of variety, pantomime, revue, cinema, and ‘light entertainment’ programmes on radio and television, the queer potential of camp became progressively more emphatic between the 1950s and the 1980s. A line of queer performers became household names, including Frankie Howerd, Kenneth Williams, Charles Hawtrey, Larry Grayson, and Julian Clary, while a few much-loved drag performers such as Danny La Rue and Paul O’Grady, aka Lily Savage, were complemented by overtly ‘straight’ male performers who were famous for their varied uses of transvestite performance (e.g. Barry Humphries, aka Dame Edna Everage, Stanley Baxter, and Les Dawson).

Musical Comedy and Camp Since 1953

Although deriving from the more ‘respectable’ middle-class theatre tradition, Sandy Wilson’s The Boy Friend has a tongue-in-cheek quality that is inherently camp, its charming and nostalgic pastiche of twenties musical comedy making it the first entirely retro musical comedy. 9 Its lack of any genuinely sexual romance heightens the camp effect in which the accurate pastiche of twenties musical comedy empties the original form of any emotional content—perhaps a sign of Sandy Wilson’s queer sensibility. The fact that its love songs deliberately echo popular antecedents renders them de trop : ‘A Room in Bloomsbury’ reproduces the style of Coward’s definitive ‘A Room with A View’ 10 without any of its romantic yearning. The title song lends itself so easily to camp parody:

We’ve got to have, We plot to have; For it’s so dreary not to have, That certain thing called the boy friend. We’re blue without, Can’t do without, Our dreams just won’t come true without, That certain thing called the boy friend.

Here the female chorus sing of the ‘boy friend’ as of any attractive man, a generalized image of a male as sex object, which reverses the usual order of musical comedy courtship in which men pine after women. The potential boy friends somewhat narcissistically collude in the process of being admired:

Life without us Is quite impossible And devoid of all charms, No amount of idle gossip’ll Keep them out of our arms.

In an era when musicals were resolutely hetero-normative, when boy met girl and usually got her after negotiating a number of obstacles, Sandy Wilson’s camp disruption of generic expectations invites a degree of playfulness that might encourage a homosexual man to place himself in the girls’ position of desiring a generic ‘boy friend’. Such a coded reading might have been even more obviously implied in 1953 when most of the West End chorus boys would have been gay and many effeminate, though no doubt the doubleness of the signification, which allowed both ‘straight’ and ‘camp’ readings would have been maintained. 11

In an equally playful though even more absurd vein, the plot of Salad Days (1954) exploits the episodic structure of an intimate revue, 12 thinly disguised as a coming-of-age narrative in which Jane and Timothy, having newly graduated with BA degrees, attempt to find something to do with their lives (‘We Said We Wouldn’t Look Back’). At face value, the wild eccentricity of Salad Days might simply appear charming to most British audiences but its questioning of authority is particularly resonant for those who may have had occasion to fear it. As in revues and pantomimes of the period, the camp innuendo of Salad Days appealed especially to a bohemian class of theatre professionals and closeted homosexuals in the form of ‘in-jokes’.

In Salad Days , Jane’s parents are pressuring her to find a suitable husband and Timothy’s are harassing him to find a proper job (‘Find Yourself Something to Do’) so the two decide to get married without any suggestion of passionate attachment on either side and without any idea how they will earn a living. 13 A series of adventures is initiated through their chance encounter with a tramp in a London park; he asks the couple if they will look after his old portable piano for £7 a week: it is a magic piano that makes anyone who hears it dance (‘Oh Look at Me’). The outbreaks of dancing that interrupt the dialogue a number of times offer an experience of utopian pleasure, joyously shared by the audience.

On the surface a fantastical folk tale, Salad Days metaphorically represents the malaise of young middle-class people in Britain nine years after the war. Expected to follow conservatively in the footsteps of their parents, and lacking any distinct identity as young people, university graduates were trapped in a repressive and puritanical environment that demanded dull but comfortable conformity. The post-war dispensation denied young people the pleasure that in different ways characterized the romantic escapism of personal relationships during the war and the more subversive hedonism of the rock ’n’ roll culture of Teddy boys and teenagers soon to come.

The startling transformation by the magic piano of a most unlikely assortment of individuals into dancers prompts a carnivalesque disruption of social convention that promotes gaiety in the old-fashioned sense of the word, but also gestures towards the more modern meaning of ‘being gay’. A scene set in Gusset Creations, the fashionable dress shop frequented by Jane’s mother, features the only obviously homosexual character in Salad Days . While contributing little if anything to the elaboration of the plot, Act 2, Scene 5 presents a dress parade organized by the flamboyantly effeminate fashion designer, Ambrose, that goes horribly wrong, eventually being interrupted by the news that the piano has been lost again. Ambrose’s pretentious attitudes and histrionically exaggerated closing line, ‘I’m drained of all emotions. I’m a husk. Leave me’ (53) reinforces a camp stereotype of the hysterical homosexual. When read ‘against the grain’, 14 this revue-like scene’s tangential connection with the central narrative discloses the absence in the text of any realistic representation of homosexuality—a result of the regime of censorship and police repression being satirized in the show.

It does not require a great leap of the imagination to view the ironically titled Minister of Pleasure and Pastime as a satire on the hypocritical and censorious regime of the Conservative government: while puritanically attempting to put a stop to the subversive gaiety of the magic piano he spends his evenings at the club ‘Cleopatra’. Also very apt as a satirical target is the police officer whose secret passion for all forms of dance expresses itself in an extremely camp and funny scene where he demonstrates his hidden terpsichorean skills by partnering his constable. The chief joke in Salad Days is the repeated revelation that the Dionysian enemy lies within the Establishment. In their different ways, both The Boy Friend and Salad Days respond to the change from a post-war Labour to a Conservative government in 1951, which confronted artists with the contradiction between the social consensus upholding the liberal values of a welfare state and the increasingly oppressive political climate of Cold War paranoia.

Although the strain of camp irreverence and humour extends into the work of Slade/Reynolds and, even more obviously, that of Wilson in the late 1950s and the 1960s, 15 overt references to homosexuality were forbidden by stage censorship and, with the odd exception, 16 gay or queer culture was an underground phenomenon while camp was largely confined to radio and television comedy, films, 17 and entertainment on the club circuit. The demi-monde of Soho and the East End does infiltrate the musical after 1956 by way of shows such as Expresso Bongo (1958), The Crooked Mile (1959), and Fings Ain’t Wot They Used T’Be (1959), whose intermingling of gamblers, policemen, gangsters, prostitutes, and effeminate interior decorators, while more inclusive in representing a bohemian environment, nevertheless marginalizes homosexual characters as comic stereotypes. By the early 1960s serious young playwrights such as Shelagh Delaney, Joe Orton, and Harold Pinter were offering subtle challenges to censorship by their more honest and adult portrayal of gay characters. It was only in 1966, however, that John Osborne’s A Patriot for Me , a historical drama about the homosexual Colonel Redl, was so explicit that, together with other plays at the Royal Court, it provoked calls for the outright abolition of theatre censorship, which occurred in 1968. 18

Mainstream British musicals have until the beginning of the millennium generally avoided representing overtly homosexual characters. Sandy Wilson’s Valmouth (1958) and Richard O’Brien’s Rocky Horror Show (1973) might appear as exceptions, but each was conceived as a ‘fringe’ show addressing a minority audience, and the latter only really became a mainstream entertainment once the screen version had established itself as a cult classic. Valmouth is a musical adaptation of Ronald Firbank’s outrageously camp novel. It is not difficult to interpret the decadent town of Valmouth—which is eventually destroyed by an erupting volcano—as an emblem of the bohemian demi-monde, a self-contained milieu with its own bizarre norms of behaviour. The Rocky Horror Show deliberately addressed a younger, more progressive audience, paying homage to the much-vaunted androgynity of seventies ‘glamrock’ icons such as David Bowie and Marc Bolan through the transvestite and bisexual machismo of Tim Curry’s Frank’n’furter and subverting bourgeois expectations by exposing Brad and Janet, the generic ‘straight’ couple from fifties B-movies, as sexually repressed neophytes desperately in need of the liberation achieved during the succeeding carnival of homo- and heterosexual seductions.

Aiming to appeal to an older and mainstream audience demographic, Lee Hall and Elton John’s Billy Elliot: The Musical is far subtler than The Rocky Horror Show in its treatment of sexual difference. The stage show transforms the tightly focused depiction of a Geordie 19 mining community on strike in Stephen Daldry’s film (2000) by making extensive use of ballet and several other types of dance in order both to enhance the show’s entertainment value as a musical and to place greater emphasis on the trope of gender and sexuality. The musical’s more complex interrogation of sexism and homophobia reflects the concerns of an epoch during which Western countries have made progress in gender and sexual politics by recognizing discrimination against women and LGBT individuals and legislating to remove it. The central focus of the film on the politics of class is dialectically counterpoised in the musical with a critique of working-class masculine identity. The opposition between the ‘rough’ (implicitly masculine) aesthetic of politically engaged leftist theatre and the refined (supposedly feminine) but politically uncommitted ‘high art’ form of ballet is resolved in the popular form of variety. The pleasure of such variety entertainment is generated by an exploitation of the inherent subversiveness of camp, which has since the 1970s made audiences complicit in the acceptance of alternative sexualities—a quintessentially British way of affirming the equality of all individuals within a community.

Marxian Aesthetics and Working-Class Culture: ‘A Good Night Out’

The rough theatre aesthetic inscribed in both the subject matter and form of Billy Elliot invokes the socialist theatre movement which made a significant impact on musical theatre of the late 1950s. Emblematic of this approach is the work of Joan Littlewood who must be reckoned one of the two most important directors in the British theatre since 1945. 20 From her days with Unity Theatre in the thirties, she and her partner, the folk singer Jimmy Miller (who later called himself Ewan McColl), pioneered the development of Marxian aesthetics in British theatre and radio through the use of popular and folk songs within plays (the best-known was Brendan Behan’s The Hostage , 1958) to create a unique type of community drama that faithfully depicted the harsh realities of working-class life. 21 Revealing the influence of Brecht well before his approach to theatre became fashionable in Britain during the late 1950s, Littlewood’s vision of working-class culture represented a direct attack on what was from her perspective a decadent society sanctioned by a corrupt authority; today one might recognize the cultural marginalization of the working class in the fifties as parallel to the suppression of homosexuality by both the police and the institution of censorship.

Littlewood’s revelatory framing of Oh What a Lovely War as an end-of-the-pier Pierrot show motivated the ironic deployment of popular songs from the First World War to satirize the blindly sentimental way in which the horrific slaughter of men had been memorialized. Her concept of popular theatre foreshadowed the folk aesthetic (‘a good night out’) of John McGrath’s company, 7:84 Scotland (there was also a 7:84 England). 22 These two groups presented musicals or plays with songs in community centres, village halls, and pubs, during the 1970s and early 1980s with the aim of exposing the inequalities of British society from a Marxist perspective. 23 Most successful was the groundbreaking and influential The Cheviot, the Stag and the Black Black Oil (1973), which dramatized the ruthless exploitation of the Highlands by capitalists between 1746 and 1973, while also telling stories of local resistance. McGrath drew on an eclectic mix of entertainment traditions, including music hall, pantomime, farce, the ceilidh, 24 and folk song as well as a range of theatrical techniques—documentary, verbatim, and revue—to construct radically left-wing shows that engaged audiences both through direct political argument and by appealing to the visceral pleasure of traditional folk entertainments.

A Brechtian Fable: Blood Brothers

Not as radical as the work of 7:84 but very much in the tradition of a ‘good night out’, Willy Russell’s Blood Brothers (1983) 25 premiered at the Liverpool Playhouse and then transferred to the Lyric Theatre in London where it had a short engagement in 1983. However, Bill Kenwright’s touring production was extremely successful around the country and when it played again in London in 1988 it was a huge hit, running until 2011. As a playwright who loved pop music, Russell’s Liverpool background helped him tap into a rich vein of music and stories and he alternated between writing plays and musicals with apparent ease. Written near the end of Margaret Thatcher’s first term of office as prime minister, Blood Brothers expresses some of the anger and impotence felt by working-class people in the north of England, who saw their traditional industries being abandoned, leaving towns and villages derelict in the wake of the new monetarist policies of the Conservative government. The piece illustrates the harsh realities of northern working-class existence just before the events represented in Billy Elliot actually took place.

The story of Blood Brothers is told by a narrator as an urban folk tale, the score consisting of emotive pop ballads and rhythmically driving satirical rock songs: it contrasts the lives of twin brothers, one of whom has been given over for adoption by the cleaner Mrs Johnstone, to her wealthy and childless employer, Mrs Lyons (‘My Child’). Mrs Johnstone’s story reveals the archetypal destiny of a single working-class mother. An uneducated woman with seven children, her husband had left her while she was pregnant with the twins:

A working-class mother in 1980s Liverpool: Petula Clark as Mrs Johnstone with David Cassidy as her son Mickey in the Broadway production (1993) of Willy Russell’s Blood Brothers .

Then, of course, I found That I was six weeks overdue We got married at the registry An’ then we had a do [……] They said the bride was lovelier than Marilyn Monroe And we went dancing Yes, we went dancing [……] My husband, he walked out on me A month or two ago For a girl they say who looks a bit like Marilyn Monroe And they go dancing They go dancing. (81–82)

As in Salad Days and Billy Elliot , dancing provides an image of utopian pleasure, signifying the joy of escape or liberation from a harsh or repressive environment, the difference being that the aforementioned musicals display dance on stage at every opportunity, whereas virtually no dancing is actually presented in Blood Brothers , because much of the story is told in song rather than enacted on stage.

The narrative structure of the musical conforms precisely to Brecht’s notion that in epic theatre the story ( fabel ) should be constructed in the complicated shape of a narrative rather than directly embodied in dramatic action. Not only does a narrator figure appear throughout the course of Blood Brothers , but many of the characters also narrate their own histories in song. This is designed to promote critical reflection and, ultimately, judgement by the spectator, rather than simple and immediate identification with the central characters.

While Mickey, the charming but aimless son, remains stuck in an impoverished environment that offers no opportunities, his brother Eddie is brought up as a conventional scion of the upper middle class and eventually attends university. Despite Mrs Lyons’s determination to keep the boys apart, they meet, become friends, and—not knowing their true relation—declare themselves ‘blood brothers’ (‘My Friend’). In order to put an end to the friendship Mrs Lyons moves away from the area, but, by chance, the council rehouses the Johnstone family in the same suburb, so the boys meet again (‘That Guy’), both falling in love with the same girl, Linda, who marries Mickey when Eddie goes away to university. Mickey eventually becomes a thief and is caught and sent to prison (‘Madman’), during which time Eddie becomes first Linda’s comforter and then her lover. When Mickey is released he jealously confronts Eddie but when his mother informs him in a bid to stop him from shooting Eddie that they are twin brothers, he screams, ‘You! Why didn’t you give me away? ( … almost uncontrollable with rage. ) … I could’ve been him!’ (158). Mickey accidentally kills Eddie, while the police shoot Mickey to prevent him from doing any harm to Mrs Johnstone or Linda (‘Tell Me It’s Not True’).

The musical is a simple but powerful examination of the effects of class in British society, its representation of the interaction between genetics and social environment revealing an almost Sophoclean notion of destiny. Clearly Blood Brothers struck a chord with the kind of British audiences who might have found Sondheim’s musicals alien in terms of both subject matter and musical style. Russell’s ability to evoke the idiom and manners of a ‘Scouse’ 26 environment is remarkable, as is his talent for writing songs redolent of the era and milieu, while the melodramatic plot structure, although somewhat contrived, has proved very attractive to a broad audience. Significantly, the exclusive focus on class politics in Blood Brothers precludes any use of the camp strategies of variety: correspondingly, neither sexual orientation nor gender is problematized in any way.

Early Responses to the Political Legacy of Thatcherism

Our Day Out , originally a television play (1977) but rewritten as a musical for the Liverpool Everyman (1983) with music by Bob Eaton, Chris Mellor, and Russell himself, continued the exploration of working-class subjects in a demotic idiom. 27 Willy Russell followed the majority of leftist male writers of his generation in concentrating exclusively on the politics of class rather than gender, race, or sexual identity. Howard Goodall and Melvyn Bragg’s The Hired Man (1984), a musical based on Bragg’s historical novel, also focuses exclusively on the representation of the exploitation of working-class men by capitalist farm owners and businessmen. In the early 1970s newly established feminist 28 and gay theatre groups began to create performances with the aim of demonstrating that ‘the personal is political’; these companies, however, had limited impact on mainstream theatre, remaining largely ghettoized until the 1990s.

The examination of the relationship between characters and their local communities in several films, plays, and musicals since the mid-1980s represented opposition to the radical social transformation engendered by the manifold failure of Conservative policies to maintain social harmony. Two works by Jim Cartright directly exposed the devastation of northern communities caused by the Thatcher government’s policy of closing mines and privatizing national industries. These were plays with songs rather than full-blown musicals, but their use of popular songs was extremely evocative. Road (1986) deployed an eclectic range of popular songs to invoke emotionally charged ‘folk’ memories at key dramatic moments. The Rise and Fall of Little Voice (1992) included even more songs in its representation of a painfully shy young woman’s (‘Little Voice’) transformation into a surprisingly confident performer when channelling a range of iconic fifties and sixties singers that her late father had loved. Set in a cheaply over-decorated house and a tawdry northern working-class club, the show anatomized a dying world whose characters inhabit their fantasies of the past or future as an escape from the ugly reality of the present. Both shows achieved great commercial success in theatres around the country and were later filmed.

Billy Elliot as British History Play

With its location in a mining village in County Durham between 1984 and 1985, Billy Elliot cleverly refunctions the strategies of socialist theatre of that epoch in conjunction with the variety entertainment of the time, thereby initiating a complex play of intertextuality. Brechtian effects frame the openings of both Act 1 and Act 2: the action begins with the entrance through the auditorium of a very small boy who then sits at the front of the stage to watch newsreel footage proclaiming the nationalization of the mining industry by the newly elected Labour Party soon after the Second World War. The second act opens with a performance by members of the Easington community reminiscent of the kind of political agitprop produced by John McGrath’s 7:84 company before the Thatcher government removed its funding in the mid-1980s.

Thatcher’s ruthless determination to establish an unregulated free-market economy without any state intervention, revealed a total lack of concern for the well-being of working-class towns and villages 29 and the resulting political unrest was regarded as justification for the increased deployment of the police force as a nationally coordinated arm of government authority. 30 In Billy Elliot , images of social division and economic disintegration are presented through a mixture of Brechtian ‘epic’ and dialectical techniques as the show exploits popular British forms of entertainment in order to construct an unusually coherent musical revealing the profound irony that Billy’s success coincides with the community’s failure to prevent the destruction of its way of life.

Political history becomes a frame for the narrative from the first moment of the performance, the anthem-like ‘The Stars Look Down’ clearly expressing the political solidarity of the village in opposition to the government’s decision to close unprofitable coal mines. The tradition of such pit communities is enacted in the singing of this anthem; implicit in that tradition is the assumption that boys such as Billy are destined to be miners, like Billy’s brother Tony, his father Jackie, and his father’s father before him. A scene in which strikers leave the Elliot house to man the picket line, is followed by one in the community hall, in which the masculine culture of the miners is ironically indicated by the comedy of a few small boys, including Billy and his friend Michael, lamely going through the motions of a boxing lesson.

Masculine Versus Feminine Cultures

Having failed to register any enthusiasm for the typically masculine sport of boxing, Billy stays to give the keys of the hall to the ballet teacher and gets caught up in the conventionally feminine activity of learning ballet. As performed by Mrs Wilkinson and her class, ‘Shine’ depicts the clumsy attempts of a gaggle of naughty and untalented girls to learn a dance routine. Its humour stems from the teacher’s sarcastic commentary on the hopeless nature of her task as, cigarette in mouth, she exhorts her pupils to ‘smile’, the lyrics at times becoming a rueful ‘voice-over’ of her observations of the class:

Doesn’t matter if you’re short or squat, Cerebrally challenged, completely shot; You might have it or might not, All you really have to do is, All you really have to do is shine. Give ’em that old razzle dazzle and shine. 31

With the aid of a hand-held smoke machine the dance sequence metamorphoses into a rather ramshackle dress rehearsal for which the girls have donned pink ballet tutus in an attempt at showbiz sparkle. 32

The action is progressed and the character of the sardonic, world-weary Mrs Wilkinson is developed in the song, whose music and lyrics evoke the stale clichés of endlessly recycled showbiz numbers that by the 1980s were ubiquitous in working-class pubs and budget holiday resorts and which became the staple of television variety and game shows of the period. The number perfectly exemplifies the amateur entertainment of small communities without immediate access to professional theatre. Such second-hand and second-rate commercial entertainment provides a kitsch soundtrack to the humdrum lives of once-proud miners, the sounds of whose true culture have earlier been voiced in the familiar choral convention of the opening song, redolent of an authentic folk tradition of community singing that predates the mass-produced ‘hits’ of the popular music industry.

Showbiz razzle dazzle in a northern community centre: Mrs Wilkinson (Ruthie Henshall) and her ballet class, including a baffled Billy (Elliot Hanna) in ‘Shine’ from Billy Elliot at the Victoria Palace Theatre, 2014.

Traditional working-class values are illustrated in a rather different way in the haunting flashback to the dance halls of the forties and fifties that accompanies Billy’s grandmother’s song of reminiscence (‘Grandma’s Song’) in which the strong-willed old woman who says she can remember the General Strike of 1926, concludes that ‘if I had my time again, / Oh I’d do it without the help of men’. Here the superb musical staging by Peter Darling creates the ghost-like atmosphere of courting rituals in vanished dance halls of thirty-five years previously when ‘women were women and men they were men’ in order for the grandmother to share her memories of an abusive relationship while offering a darkly comic critique of the life allotted to her within a rigidly patriarchal society.

But we’d go dancing, he was me own Brando [……] But we were free for an hour or three, From the people we had to be, But in the morning, we were sober.

The delightful and complex performance of Ann Emery 33 provided the audience with an extraordinarily vivid portrayal of the resilience of working-class women of an earlier era, whose potential talent and intelligence went unnoticed and therefore remained unfulfilled.

Song-and-Dance as Political Metaphor

If ‘Grandma’s Song’ exhibits the sophistication of the staging as an element of Billy Elliot’s musical dramaturgy, ‘Solidarity’ represents a model of how musical theatre writing can be integrated with choreography to express the complex meaning of historical narrative. 34 Conflating the ballet class with a stylized representation of the battle between the striking miners and the police, the music, lyrics, and choreographic patterns suggest the multiple meanings of ‘solidarity’: for the miners, it means keeping faith with their trade union and its opposition to an oppressive regime of government-backed bosses; for the police it signifies a legitimate defence of social order as a bulwark against rioters; for the girls it simply means keeping in step together in their dance routine. In the most general sense, the repetition of ‘solidarity’ in the song ironically implies the traditional working-class solidarity that should unite both miners and police against exploitation by capitalist employers, but which has been deliberately broken by the Conservative government’s unfounded promise of a new classless form of meritocracy.

police  Keep it up till Christmas lads,     It means a lot to us     We send our kids to private school     On a private bus     We’ve got a lot to thank you for     Geordie you’re a corker:     A nice extension on the house and a fortnight in Majorca.     Solidarity, solidarity     Solidarity forever

In a virtuoso deployment of stage props, including chairs, policeman’s helmets and clubs, rolled-up newspapers and miner’s helmets, Peter Darling creates a dialectically complex piece of staging that indicates the effect of the large police presence on the life of the striking village. The face-off between straight lines of police and pitmen singing at each other enacts the way police and miners (traditionally linked as working-class comrades) have been set against each other:

miners  Don’t worry lads, we’re on your side;     Solidarity forever.     Solidarity, solidarity     Solidarity forever     We’re proud to be working class,     Solidarity forever.

The extraordinarily witty and detailed musical staging in which pitmen and policeman alternately wear their own and their opposed counterpart’s helmets exposes the interchangeability of warring policemen and miners beneath their uniforms. The irony that both groups of men are unknowingly partnering the girls in their dance while actually going about the business of the strike is a clever way of depicting the way the life of the community continues in spite of the disruptive events of the strike:

girls We’re proud to be working class, Solidarity forever. police You fucking worms You fucking moles You fucking Geordie shits We’re here to kick your Geordie arse You little Geordie gits. miners We’re terrified, We’re petrified, Those words are so obscene. We’ll boot your fuckin’ cockney skulls, Right back to Bethnal Green wilkinson Shine, just shine All you have to do is shine [. ….] girls 12345678

The dainty steps that both burly miners and aggressive policemen unwittingly perform as part of the girls’ rehearsal mockingly highlight the hyper-masculinity of their working-class culture as mere role play: their unexamined homophobia is thereby implicitly exposed as a macho fear of femininity, which manifests itself in their prejudice against ballet as an elitist art form for middle-class women and effete men. During the number Billy progressively exhibits his growing skills as a dancer until at its culmination he takes centre stage in an exciting display of his talent. Ironically, the complexity of the song-and-dance sequence is a refutation of Margaret Thatcher’s infamous assertion in 1987 that ‘there is no such thing as society. There are individual men and women and there are families.’ 35

Working-Class Masculinity and Individual Self-Expression

The patriarchal construction of masculinity is more overtly challenged by the irresistibly camp paean to individuality, ‘Expressing Yourself’. Initially afraid of the stigma of effeminacy, Billy reveals to his eccentric young friend Michael that he has been attending ballet classes; Michael in turn persuades Billy to join him in dressing up in his sister’s clothes. Completely shameless in his love of drag (‘Me Dad does it all the time’) Michael draws Billy into the song-and-dance duet, which climaxes with the neophyte tap dancers being accompanied by a group of giant women’s ‘dresses’ who tap along with them in carnivalesque defiance of gender conformity:

What the hell is wrong with expressing yourself? For trying to be free. If you wanna be a dancer, dance, If you wanna be a miner, mine …

The number succinctly contrasts the unique personality of each boy. Although Michael may be gay he thinks ballet is ‘weird’; Billy’s instinctive attraction to dance certainly does not make him gay, yet each boy has a strong need to assert his own identity in the face of a restrictive society that by policing traditional norms of masculinity offers no creative outlet for men.

When Billy’s father finds out he is missing boxing sessions in order to attend ballet classes, he bans him outright from attending but Billy accepts Mrs Wilkinson’s offer to tutor him secretly in preparation for an audition for the Royal Ballet School. When she devises a new dance for Billy, the thickset accompanist Mr Braithwaite progressively strips off his outer garments during the exhilarating song-and-dance number ‘Born to Boogie’ to reveal himself as a rather nimble dancer in tracksuit trousers and a skintight T-shirt. The routine is an expression of the pure joy of dance to a song that sounds like a typical Elton John rock ’n’ roll hit from the early eighties—exactly the kind of music that was ubiquitous on radio and television in 1984:

From the day of creation We were the dance sensation. Come on and shake yer bootie, Cos we were born to boogie.

Billy’s father and brother, Tony, prevent him from sneaking off to Newcastle for the audition as the battle between police and striking miners intensifies. On entering the house to enquire after Billy, Mrs Wilkinson is trapped into a confrontation with these two angry men who are incensed that she has ignored Jackie Elliot’s wishes.

During the ensuing argument Tony calls her ‘a middle class cow’, while Mrs Wilkinson bluntly criticizes the men’s pig-headed and antediluvian working-class pride. After she leaves, the men go out to join the pickets while Billy storms upstairs, flinging himself on his bed in black despair and resentment, his kicking and shouting segueing into the ‘Angry Dance’. Brilliantly swathed in flashes of red light on a set whose individual sections move upwards and downwards, revealing Billy stamping down the stairs from his bedroom and jumping down a manhole into the sewers while he rages helplessly both against the war of police and pitmen around and above him and against the miners’ prejudices, the combined forces of which have conspired to prevent him from doing what he loves most deeply. The violence on the street that actually occurred in towns like Easington is graphically depicted when the policemen form a line of fibreglass riot shields to halt protesting strikers, against which Billy repeatedly throws himself as part of his furious clog dance. Eventually exhausted by his futile efforts, Billy collapses downstage centre; his angry protest dance has failed to stop the advance of the riot police. As the audience begins to applaud the boy playing the role, he gets up and it is the actor, not Billy, who gives a challenging look at the audience as he simply walks offstage—a Brechtian ‘distancing’ device to effect a separation between actor and character. 36

Musical Theatre and Political Protest

The opening of the second act brings two miners—the boxing teacher and Billy’s brother Tony—in front of the stage curtain. Incongruously dressed as Santa Claus and his elf they address the theatre audience as if they are working-class spectators at a camp Christmas pantomime. This instantly places the spectators in the position of members of the mining community. The makeshift show-within-a-show (‘Merry Christmas Maggie Thatcher’) comes as a complete surprise, illustrating the life of a community united in its hatred of the prime minister, caricatured as a demonic marionette bestriding an entire stage filled with miniature glove puppets of Conservative politicians such as Michael Heseltine, trade union leaders including Arthur Scargill, 37 and even a cow representing the free milk that Mrs Thatcher has now ‘stolen’ from schoolchildren: 38

They’ve come to raid your stockings And to steal your Christmas pud But don’t be too downhearted Cos it’s all for your own good. The economic infrastructure Must be swept away To make way for business parks And lower rates of pay

The sadness beneath the surface of the jollification is revealed when Jackie Elliot is asked to sing; instead of obliging with the requested ‘Big Spender’ or another such cabaret-style pop song, he somewhat drunkenly performs a rendition of ‘Deep into the Ground’, a moving folk lamentation for his deceased wife, in the chorus of which he is later joined by the other revellers.

Oh once I loved a woman, She meant all the world to me. Saw ourselves a future As far as I could see But she was only thirty-seven When they took her down from me, And buried her deep in the ground. Oh the winter wind can blow me colder Oh the summer’s heat can parch me dry But I’ll love these dark, dark hills forever, And I won’t leave them until I die.

After the others have straggled off home, Billy completes the song for his sobbing, inebriated father as they stand in the deserted and cold community hall. Jackie leaves his son alone with Michael who makes a touching if somewhat clumsy romantic advance. Although Billy declares he is ‘not a poof,’ his response is sensitive because he doesn’t shy away from physical contact; he even makes Michael a gift of a ballet tutu.

‘He Could Be a Star’: Individual Success at the Expense of Solidarity

Left alone, Billy plays a tape of Swan Lake , during which a vision of his future self as a professional dancer appears to perform a fantasy ballet, in which the young and the adult Billy together offer a glimpse of the aesthetic accomplishment towards which Billy aspires. This extraordinary piece of drama has in this particular moment the strangely magical effect of a transformation scene in a pantomime: on the verge of seeming kitsch, Tchaikovsky’s overfamiliar music nevertheless evokes all the idealized and heroic beauty of ballet as Billy ‘flies’ with the aid of theatre technology. The sequence never fails to elicit ecstatic cheers and applause from the audience as Billy ends it standing in front of his perplexed father who has re-entered to take him home. Having directly witnessed Billy’s talent, Jackie decides to visit Mrs Wilkinson as he now wishes to help Billy get to London for a Royal Ballet School audition.

Jackie’s determination to earn money to pay for his son’s trip to London himself rather than accept Mrs Wilkinson’s financial aid—a typical example of the crippling effects of the masculine working-class pride she has accused him of earlier—obliges him to cross the picket line so he can return to work, thereby causing a direct confrontation with Billy’s brother Tony in the song ‘He Could Be a Star’. Anthem-like verses sung alternately by Jackie and Tony concisely express the opposed ideologies of socialism (the communitarian values of social welfare) and capitalism (success as a reward for the exceptional individual) that have motivated the entire plot:

tony This isn’t about us Dad It’s not about the kid It’s all of us, it’s everybody’s chance It’s everybody’s future It’s everybody’s past It’s not about a bairn who wants to dance. [. …] dad He could be a star for all we know We don’t know how far he can go, And no one else can give what I can give

The miners’ agreement to donate money to help Billy signifies the traditional solidarity of comrades in their struggle against the ruling class:

We’re all in this together Jack There is another way All for one And one for all

Contrasting with Billy’s desire to ‘shine’ as a ballet star is the miners’ pride in the altruism and courage that helps them to shine in fighting for justice:

We will go and we will shine We will go and seize the time We will all have pride in how we live.

A ‘scab’ (strike-breaker) generously offers Billy money to cover all his expenses but Tony and the miners are reluctant to let him take it, even though the amount they themselves are able to muster is not nearly sufficient. The incident is poignant because the fact that Billy finally takes the cash suggests that the miners’ strike is about to fail, indicating the crumbling of the workers’ solidarity in their struggle against the selfish individualism of the capitalist system.

When Billy and his father arrive at the Royal Ballet in Covent Garden, they feel out of place in the posh surroundings and somewhat intimidated by the rarefied and seemingly elitist atmosphere, but when they leave, the female chair of the audition panel wishes them good luck with the strike, nicely revealing the solidarity of the metropolitan arts world with the socialist battle for justice being fought in the industrial north. 39 In answer to her question of what Billy feels when he is dancing, he sings ‘Electricity’, a celebration of the feelings of power and freedom generated by dance as a form of artistic expression, a number that then segues into an exhilarating physical demonstration of the significance of the lyrics. Tellingly, in the following scene the happy news of Billy’s acceptance by the Royal Ballet School is immediately undermined by the announcement that the strike has collapsed; by contrast, a Broadway musical would, typically, delay the news of Billy’s success until after the sad realization of the miners’ failure in order to provide the conventional showbiz uplift.

As Billy prepares for his departure to London, the miners accompany his leave-taking by singing the deeply nostalgic ‘Once Were Kings’—a lament for the loss of their livelihood and way of life due to the imminent closure of the pits. The men’s reticence makes the scene profoundly moving for what is left unsaid and the final image of the pitmen, with their helmet lamps shining into the auditorium from the darkness as they descend underground, is a devastating symbol of their heroism in defeat. The play ends with Billy bound for London, walking off the stage into the auditorium on his own but leaving his gay friend Michael alone on his bike 40 in the dystopian wasteland of a doomed mining community. As the curtain slowly descends, this final image of abandonment symbolizes the tragic destruction of a traditional way of life. There is no celebration of individual triumph, only a harsh realization that the miners and the isolated young gay man share the fate of being on the wrong side of history.

Billy Elliot is a great work of popular art, not only because its success story of a boy who wants to become a ballet dancer is told in a thoroughly heartfelt and entertaining way, but also because the sociocultural dimensions of a turning point in British political history are so authentically conveyed in action, speech, song and dance. As a performance text it is sophisticated and densely wrought: the scenography always contributes to the significance of the action. The rather ramshackle appearance of what is actually a superbly designed set 41 —which characters give the illusion of pushing and pulling into place by hand—evokes the milieu of a poor but respectable household with its make-do-and-mend decoration and dated electrical appliances, as well as utilitarian public halls in Victorian buildings that have been successively adapted for multiple purposes in an eclectic concatenation of styles. In the picket line scene the authentic Conservative party poster against the rear wall of the stage with its cunningly manipulative headline LABOUR ISN’T WORKING , precisely pinpoints the historical moment with the uncanny percipience of hindsight.

In Billy Elliot the traditionally macho aspects of left-wing working-class popular culture are subverted by a long-standing British habit of camp innuendo to undo the repression of femininity that is commonly manifest in British culture as reflex homophobia. The stage musical brings to the surface of attention what is merely a subtext of the film—a complex focus on masculinity that introduces the perspective of the twenty-first century to recognize that the political includes the personal. While the politics of social reform and revolution are the film’s overt subject, in the musical version the psychology motivating the routine sexism and homophobic anxieties of the miners constitutes an important aspect of Billy’s conflict in his gradual realization that he wants to be a ballet dancer; the staging/choreography ‘queers’ the hyper-masculinity of the miners, relativizing what this particular society regards as universal, thereby initiating a dialectical argument around the relationship between class, gender, sexual orientation, popular and ‘high’ art. These themes are comically reprised in the finale—not a part of the action but a theatrical coda to the final narrative moment which presents a Dionysian celebration of the unrepressed, in which dancing miners in white tutus worn over orange boiler suits join the whole cast in a joyous and extended curtain call.

As a musical adaptation it seizes the opportunity to let dance do the work of evoking an aspirant dancer’s passion for the art, representing the thrill of dancing by creating dance that itself thrills us. If, as Richard Dyer has claimed, musicals generate pleasure in the momentary contemplation of utopia, Billy Elliot ’s deeply political use of an array of entertainment forms to critique the inhumanity of unregulated capitalism in the 1980s while engaging its audiences in celebrating the possibilities for personal freedom in the future, knowingly exemplifies the idea that the genre is always more than ‘only entertainment’. 42

These included rock operas like Jesus Christ Superstar (1970), sung-through epics such as Evita (1976) and Les Misérables (1985), musical melodramas such as The Phantom of the Opera (1986), and jukebox shows like Buddy—the Buddy Holly Story (1989) and Mamma Mia! (1999).

British variety is a form of concert entertainment derived from music hall in the late nineteenth century that survived until the early 1960s but was largely replaced as a form of popular entertainment by television; the annual Royal Variety Performance on television is the last remaining trace of the form.

3. John Lahr , ‘On Your Toes’, New Yorker , 4 July 2005, http://www.newyorker.com/critics/theatre/articles/050704crth_theatre , accessed 10 July 2015.

Young performers who have recently played Billy have been superb tap dancers; the choreography is in fact adapted to suit the special talents of each individual boy.

Peter Nicholls’s Privates on Parade (1977) had focused on an army entertainment corps led by a sergeant who was a drag queen, but that was a play with music which was premiered by the Royal Shakespeare Company and not a commercial musical.

The most famous television variety show of the early 1960s was Sunday Night at the London Palladium , while many TV comics who had started in pubs, working men’s clubs, and variety became household names on TV comedy and variety shows.

These stars achieved international fame in English-speaking countries outside the United States on radio, film, and later TV shows.

Such stars as Cicely Courtneidge, Jack Hulbert, Noel Coward, Gertrude Lawrence, Jack Buchanan, Jessie Matthews, Peggy Wood, Hermione Gingold, Hermione Baddeley, Evelyn Laye, Dorothy Dickson, Olive Gilbert, Bobby Howes, and Lupino Lane were trained theatre performers who made their names in revue and musical comedy.

Coward and Novello had for years been writing ‘retro’ operettas.

The song was first performed in the 1928 revue This Year of Grace.

Wilson’s trenchant criticism of the crudely camp production that the show received on Broadway where it starred Julie Andrews is evidence that he wished the show to maintain a surface innocence.

Intimate revue was the most ubiquitous form of musical theatre during and immediately after the Second World War.

The asexual nature of the relationship is in marked contrast to the overtly heterosexual attraction of the central characters in contemporary American musicals, and gives credence to the notion of a gay subtext in Salad Days.

This is one of the chief strategies of literary deconstruction.

See, in particular, Wilson’s Valmouth (1958) and His Monkey Wife (1971).

Sung by a very effeminate interior decorator, Lionel Bart’s song ‘Contemp’ry’ in Fings Ain’t Wot They Use T’Be is a rare example.

The series of Carry On films, running from 1958 until 1978, is one of the most famous examples of the camp comic tradition that has persistently represented sex according to the conventions of seaside postcards as ‘naughty’ and ridiculous.

Shelagh Delaney’s A Taste of Honey (1958), Joe Orton’s The Ruffian on the Stair (1963), and Harold Pinter’s The Collection (1964) were among the earliest plays to represent homosexual characters and relationships as aspects of ordinary life.

Person from the Newcastle area.

Her only rival is Peter Brook.

See Ben Macpherson on Joan Littlewood, Chapter 19 , and Robert Lawson-Peebles, Chapter 24 , on the use of song in socialist drama.

The company was named after the fact that 7 per cent of the population owned 84 per cent of its wealth.

These plays include Trees in the Wind (1971), The Fish in the Sea (1972), The Cheviot, the Stag and the Black Black Oil (1973), and Blood Red Roses (1980).

The ceilidh is a traditional Gaelic entertainment.

25. All quotations from Blood Brothers are taken from Willy Russell , Educating Rita, Stags and Hens, and Blood Brothers: Two Plays and a Musical (London: Methuen Modern Plays, 1986). Further page references will be given within the text.

A ‘Scouser’ is a working-class person from Liverpool.

27. The narrative of deprived schoolchildren being taken by their teachers on an outing depicts a day of anarchic fun in a café, a zoo, Conway Castle, and the beach; it provides a realistic insight into the joy and pain of growing up. Underlying the humour, a darker theme emerges—the realization that this day of escape from their depressing existence is likely to be the happiest these children will ever experience: ‘Why can’t it always be this way / Why can’t it last for more than just a day / The sun in the sky and the seagulls flying by / I think I’d like to stay / Then it could always be this way.’ Willy Russell , Our Day Out: The Musical (London: Methuen, 2011), 62.

The pre-eminent feminist theatre companies established in the 1970s included Red Rag, Cunning Stunts, Mouth and Trousers; Gay Sweatshop was the first and for some years the only gay theatre group in Britain.

29. ‘Mrs Thatcher and her ministers made it conclusively clear that they felt no responsibility for the promotion of social harmony and that, in the pursuit of longer-term aims, they found confrontation and violence entirely acceptable.’ Arthur Marwick , British Society Since 1945 (Harmondsworth: Penguin, 2003), 289.

Although railwaymen and other industrial unions did not universally support the coal miners, there was widespread sympathy for the hardships suffered by miners and their families throughout the country, which even extended to the managers of some of the mines. See Marwick, British Society Since 1945 , 288–289.

John Lahr’s comment on ‘Shine’ revealingly illustrates his blindness to the cultural context. Although his dismissal of the song as ‘a third-generation Xerox of Chicago’s “Razzle Dazzle” ’ ( Lahr, ‘On Your Toes’ ) is in some respects apt, it misses the point of Elton John’s clever pastiche of seventies and eighties pop-style versions of Broadway show music, the kind of music that Elton John himself was writing during that era.

Astonishingly, Ann Emery has played this role for ten years in London with only a few months’ break to perform in Betty Blue Eyes (2011).

Without didacticism, the number alludes to the complex conflicts of interest motivating the events of the coal miners’ strike: this was the first time in British history the police had been deployed against strikers in riot gear and using riot shields and, while there was violence on both sides, these events acquired powerful symbolic value in demonstrating the successful strategy of the Thatcher government in breaking the traditional solidarity of workers to create divisions within and between trades unions by setting one section of workers against others through a manipulation of the occasionally conflicting financial interests of each, as ‘Solidarity’ and other songs in Billy Elliot indicate.

Lahr’s failure to understand the Brechtian techniques exploited throughout the show can be seen in his lame criticism of the end of Act 1: ‘[A]fter Billy’s sensational explosion at the police, Daldry can’t properly clinch the moment. Billy lies back on the ground, then simply gets up and walks offstage: end of Act I. Fatigue seems to have blinkered Daldry’s critical ability.’ Lahr, ‘On Your Toes’ .

Arthur Scargill was president of the National Union of Miners (NUM) from 1982 to 2002 and therefore an iconic figure in the opposition to the Thatcher government.

Apart from failing to identify the tradition of working-class Christmas entertainment cleverly exploited in the scene, Lahr’s criticism of its puppets—hardly avant-garde!—reveals a total ignorance of its political significance, ‘But, out of a kind of narrative desperation, Daldry is forced to borrow from the tattered grab bag of avant-garde tricks: behemoth puppets, masks on the backs of heads—any surprise to cover up the lacklustre book and music.’ Lahr, ‘On Your Toes’ .

The metropolitan arts world was as directly opposed to the Thatcher government’s policies as was the NUM, as it threatened savage cuts to government subsidy for the arts.

The term ‘on yer bike’ became a catchphrase in the 1980s, indicating the need for unemployed youngsters to stop loitering and move on, but with the implication that they should get on their bicycles to seek gainful employment in another town or village—a reflection of the devastation of the economy that by the end of the 1980s had left entire towns and villages derelict.

The set was designed by Ian McNeil.

42. See Richard Dyer , Only Entertainment (London: Routledge, 1992).

Anon. ‘Margaret Thatcher in Quotes: Key Comments from Britain’s First Female Prime Minister.’ The Guardian , 8 April 2013. http://www.theguardian.com/politics/2013/apr/08/margaret-thatcher-quotes , accessed 13 August 2015.

Dyer, Richard . Only Entertainment . London: Routledge, 1992 .

Google Scholar

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Lahr, John . ‘On Your Toes.’ New Yorker , 4 July 2005. http://www.newyorker.com/critics/theatre/articles/050704crth_theatre , accessed 10 July 2015.

Marwick, Arthur . British Society Since 1945. Harmondsworth: Penguin, 2003 .

Russell, Willy . Educating Rita, Stags and Hens, and Blood Brothers: Two Plays and a Musical. London: Methuen Modern Plays, 1986 .

Russell, Willy . Our Day Out: The Musical . London: Methuen, 2011 . www.themusicallyrics.com/b/177-billy-elliot.html , accessed 22 October 2013.

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The Feminist Spectator

Ruminations on how culture shapes our lives . . .

Billy elliot.

Seeing this little musical extravaganza (and that’s not, in this case, a contradiction in terms) was like seeing an evening’s worth of product placement, a musical based on a film determined to squeeze every penny from the success of its prior incarnation. That sounds cynical in a way I don’t mean; Billy Elliot works to the extent that it captures the surprising warmth of the terrific original film. But to change media requires placing the sad, whimsical, and finally hopeful story of the boy from a Northern England mining family who can’t suppress his sudden desire to be a ballet dancer into the relatively lumbering, static realm of the stage. The story feels a bit plodding, as a result, despite the creative team’s various attempts to mimic the film’s soaring effect.

Originally produced in London’s West End, the Broadway production includes only one carry-over performer in a leading role, the inimitable Haydn Gwynne as Mrs. Wilkinson, the ballet teacher who uncovers Billy’s dancing talent. I saw David Alvarez in the title role (two other boys rotate in the lead with Alvarez). I caught the PBS-broadcast documentary, Finding Billy, about the extents to which the producers went to discover their American Billy, auditioning thousands of young boys from around the country in a series of extended workshops. The 15 finalists spent two weeks with director Stephen Daldry, choreographer Peter Darling, and musical director David Chase, who carefully vetted the boys for their potential to act, dance, and sing the role. Billy performs center stage for most of the evening; the part requires not only the charisma of a leading man-child, but also the stamina of a polished, veteran performer.

Alvarez, the lovely, now 15-year-old Cuban-Canadian who studies at the American Ballet Theatre, is luminescent as Billy. Alvarez has a quiet command of the role. He’s wistful and slightly brooding, where another performer could be showy and temperamental (perhaps even one of the other two boys who share the role, based on how they appeared in Finding Billy). Alvarez’s strength is ballet. Although he does yeoman’s work with the shows tap and hip-hop inflected numbers, and although his acting is appealing and his singing adequate, watching this young man perform the classical moves is a revelation.

The scene in which Billy stumbles into Mrs. Wilkinson’s ballet studio, wondrously attracted to the poses and positions she tries to craft on the bodies of her recalcitrant young girl students, is one of the most magical I’ve seen in recent theatre-going. In his second clandestine visit to her studio—his father thinks he’s out taking boxing lessons—Billy somehow clicks into position. In the curve of his arm and his back; in the tilt of his head; in the confident pointing of his feet, knees, and thighs; in the small rise of his chin; Billy embodies grace, beauty, and the potential in all of us to create something meaningful, if only for a moment.

Gwynne, as Mrs. Wilkinson, performs the scene beautifully, cloaking her astonishment at Billy’s talent and gently correcting his limbs into the proper position while it dawns on her that she’s found a very special boy with the potential to be a real artist. Her reaction tells more of a story than perhaps any other moment in the production, as a wistful yearning for what she’s lost and will never achieve struggles with her frank appreciation for Billy’s latent ability and her sheer enjoyment at seeing the beauty he’s already wrought.

Mrs. Wilkinson could be a clown role: the washed up, aging dancer consigned to a lifetime of putting heavy-set or gangly girls through the paces of Ballet 101, smoking while she teaches, wearing outrageously colored leg warmers and delivering cutting pronouncements about the lack of talent with which she’s surrounded. Mrs. Wilkinson could be played for laughs, like the self-serving Mrs. Hannigan in Annie. Instead, Gwynne makes the character the production’s emotional center, bringing nuance and care to each moment she’s on stage.

She becomes Billy’s surrogate mother (his own died tragically young, and appears to Billy as a ghost throughout the show), not because she wants to, but because Billy needs her protection and her care and she simply can’t refuse him. She’s moved by Billy’s talent and his sadness; in trumpeting his artistic potential, she’s not living vicariously so much as living at all. Billy reminds her of what art can do. In his physical transformations, she finds grace in an otherwise constrained life.

Billy Elliot paints in much broader strokes the lives of the striking miners whose struggle to keep their jobs and their livelihoods provide the surrounding story. Billy’s home life, administered haphazardly by his still grieving father and a tempestuous older brother who feels with his fists instead of his heart, is a caricature of working class values and lifestyles. Carole Shelley (late of a turn originating the role of Madame Morrible in Wicked) plays Grandma as a dithering joke, hiding her food, forgetting her daily routine, and offering Billy what limited affection she can muster as the family’s only woman. Gregory Jbara (who among other Broadway credits performed as the teddy bear-like gay bodyguard in Victor/Victoria) plays a stolid if limited Dad.

The scene in which Dad watches Billy dance for the first time in front of the judges at the Royal Ballet is Jbara’s finest. His astonished understanding of his son’s talent is moving and somehow true. Alvarez’s solo dance is a tour-de-force of frustrated emotion translated into gorgeous, compelling movement. Jbara’s transformation from an anxious, reluctant stage father unsure of himself in an elite environment to a proud father who sees a way out of certain poverty for his youngest son is another of the production’s few more emotionally complicated moments.

Otherwise, the musical’s emotional arc, signaled with a heavy hand by simplistic pop tunes with music by Elton John and lyrics by Lee Hall, moves predictably from a fierce battle cry roused from striking miners to the resignation of defeat when after a year, they lose their strike and return to the mines with much reduced power and possibility. The dance numbers that convey the struggle between the workers and the police are beautifully choreographed, especially for “Solidarity,” in which miners, police, and the young girl ballet dancers weave together and dance among each other in a way that reveals them as finally one community with more in common than the rather arbitrary lines of their fight would suggest.

Of course, the striking miners support one another as they struggle not to starve without their wages, but their change of heart about Billy’s dancing comes too easily here to be persuasive. The musical is riddled with homophobic remarks about “poofs” (or, in the French, “poufs,” which my online dictionary seems to prefer), British slang for “fags”—any boy who doesn’t box and doesn’t want to be a miner like his older brother and father must be light in his loafers. That the community goes from such homophobic scoffing to financially supporting Billy’s quest to audition for the Royal Ballet with more than the few shillings they can spare happens too quickly here to make sense. The narrative feels contrived, going through its motions as it hurtles toward its inevitably uplifting, triumphal conclusion.

That anxiety about Billy’s sexuality, though, courses through more than one scene of Billy Elliot. Instead of addressing the issue and putting it, as it were, to bed, the book revisits Billy’s fey potential from beginning to end, as though “pouf” is a hiccough that won’t go away. The issue is most complex and nuanced in Billy’s scenes with his friend Michael, who is, in fact, queer. Early on, Michael persuades Billy to dress in his mother’s clothes as a prelude to the rousing number, “Expressing Yourself,” which Hall and John craft as one of the show’s best songs. It helps, too, that David Bologna, whom I saw play Michael, is a firecracker of a young performer. He plays to the audience, blatantly soliciting laughs and applause, but his virtuosic tap dancing, belting voice, and appealing countenance make him difficult to resist.

Bologna and Alvarez have more chemistry than any other combination of characters in Billy Elliot. Michael is Billy’s comic foil, while Mrs. Wilkinson his partner in his more serious emotional trajectory toward manhood. Michael’s late admission that he is, in fact, a “pouf,” is one of the show’s most unadorned and affecting moments, as it’s clear that as a queer boy, Michael will be trapped in the ultra-masculine world of miners without the escape route that Billy almost magically plots for himself.

The final moment of Billy Elliot is shared between Billy and Michael. As Billy leaves—up the aisle of the theatre’s house, for some reason—Michael rolls down stage center on the bicycle he’s pedaled throughout the show to say good-bye. Billy returns to the stage for the farewell, and kisses his friend chastely on the cheek. In this departing benediction, both boys acknowledge that only one of them will get out alive and, unfortunately, it won’t be the one whose queerness puts him most at risk by staying behind. The sad moment is a bittersweet coda to an otherwise redemptive narrative, and perhaps the only way to excuse all that anxiety about poufs.

In the UK, where Billy Elliot still plays to large audiences, the story’s political content must read more clearly and persuasively. For American spectators, a program note (rare for Broadway productions) explains the history of the 1984 miners strike in response to Prime Minister Maggie Thatcher’s threat to close down the industry. A second act party scene that parodies Thatcher’s much-reviled countenance with oversized puppet heads and caricatured actions could be particularly illegible to those who are most likely the show’s target audience—preteens and teenagers.

In its translation to the US, Billy Elliot loses what might otherwise be its political punch. The miners lose their strike after a long, hungry year, only to return to work chastened and defeated. Daldry makes the point beautifully; the company dons their miners clothes and hard hats, singing “Once we were Kings” as they descend into the stage floor as the song ends. The lights on their hats shine out at the audience as they’re lowered below the stage, blinding us for a moment but underlining that these men who work underground have literally been buried by Thatcher’s union-bashing, anti-worker machinations. The resonant image is chilling.

The New York reviews rhapsodized Billy Elliot as the saving grace of the Broadway season, and the show will probably win a number of Tony awards that will extend its box office life. I sat behind a woman who was seeing the show for the fourth time and provided an unsolicited disquisition about the differences among the three Billys and the two Michaels. Fans like her, and the word of mouth they’ll promote, should keep the show running despite the economic crisis that closed almost ten Broadway shows at once at the beginning of the month. Although I don’t think Billy Elliot deserves all of its critical encomiums, those few enchanting scenes that anchor an otherwise ordinary but perfectly pleasant evening make seeing it worthwhile.

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3 thoughts on “ Billy Elliot ”

A story in the New York Times on Tuesday, http://www.nytimes.com/2009/01/14/theater/14bill.html , made me wonder about how the girl dancers figure into Billy Elliot. The Times has covered Billy Elliot extensively, in part because the musical has drawn the attention of the dance, film, and theatre communities—or at least dance, film, and theatre critics. Many of the articles rely on the narrative that makes Billy feel familiar to people in the ballet world: the story of the talented male dancer who receives, from the moment he steps into the studio, proclamations that he is exceptional. His talent certainly contributes to his acclaim, but the fact that he is a boy is what makes him a commodity. (One of the first NYTimes stories on Billy in April 2008 reports that one of the lead boys, Trent Kowalik, was given free dance classes from early elementary school on because he was a boy.)

In contrast, girls in ballet learn quickly that they are replaceable and need to learn to look like all of the other girls, a message that might have something to do with the rarity of women ascending to power in the ballet world, as artistic directors or choreographers. How can you become a leader when you’ve spent your life being told to blend in with the crowd?

Tuesday’s Times article is interesting because it underscores the degree to which the girls in the show, who are all dancers offstage too, have to diminish their dance skills in order to make the boy stand out even more. On a more positive note, the article speaks to the degree of solidarity among the young women in the cast, who chant “BGUSA” for “Ballet Girls U.S.A.” before every show. I haven’t seen the musical, only the film, which I loved, though in retrospect the girls are quite peripheral. What’s your reading on the girls’ roles in the show?

I’m also curious about the show’s queer themes, highlighted in the relationship between Billy and Michael. As often as popular press about men in ballet highlights their singularity, much work is done to make the impression that not all men in ballet are gay. Sascha Radetsky, who recently left ABT to join the Dutch National Ballet, wrote an essay in Newsweek’s My Turn column last March, http://www.newsweek.com/id/120061 , following the familiar theme that men in ballet have to battle many stereotypes, primarily the idea that they’re gay. Radetsky spends ample time assuring his readers that he got into ballet and stayed, in part, because he gets to touch many lithe women on a daily basis. This is a well-worn tactic for male dancers: Born to Be Wild, the Great Performances documentary that follows four male ABT dancers, taps this narrative, particularly when focusing on the all-American Ethan Stiefel, and the most recent “So You Think You Can Dance” tour retraces this path, too. The subtext is constant: I’m a guy. I dance, but I’m not gay.

I don’t mean to say that all male dancers are gay, but rather that the discourse around men and dance usually winds up reinvesting in the idea that to be gay or to be suspected of being gay is a bad thing–something that all men in dance should constantly fight against as publicly as possible. I think that the issue of fending off suspicion of homosexuality dovetails with the narrative of the singular boy: he deserves all that special attention and praise because he must battle the queer stereotypes ascribed to boys in ballet.

I’m curious as to whether Michael’s queer presence functions as gay foil to Billy’s apparent straightness. Is he the presence that, by contrast, assures audiences that Billy is a straight boy in ballet? How is Billy’s sexuality configured in the musical? Or might there be a more accepting, hopeful message in that last kiss you describe?

I am a girl who dances and acts, and I think that Billy Elliot captured extreme truth not only in the historical parts, but in the parts with the children as well. When Billy is at the ballet school to audition, he pushes a kid. In my last play, two kids kept kicking and punching each other at the auditions because one kid was really nervous. When Billy is allowed to join the dance class, the girls are not too happy about that at first. I have almost never had a boy in my dance class. When I have had a boy in my dance class, the other girls did pick on him in the beginning, but not for long. About the stereotype that men who are in theatre and dance are gay, I do not agree with it, but many people do. I also believe that there is nothing wrong with being gay. and yes, in Billy Elliot, they tried to show the obvious contrast between Billy and Michael. I think that the last kiss is just as respect to Michael and also because Billy will probably never see Michael again.

Hey. I am one ballet girls in the show. I like the article you wrote!

Buy your tickest to see Billy Elliot:The Musical!

*Austraila*

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Billy Elliot

By stephen daldry, billy elliot quotes and analysis.

"Just because I like ballet don't mean I'm a poof, you know." Billy Elliot

Billy is well aware of the stereotype that people see when they see male ballet dancers. Men like his father and the kids he is at school with believe that his love of ballet is symbolic of his sexuality. In this instance, his friend Michael (who is gay) also seems to believe there's a correlation between his interest in ballet and his sexuality, but with this quote, Billy insists that there is not.

Sandra: This'll sound strange, Billy, but for some time now I've been thinkin' of the Royal Ballet School. Billy: Aren't you a bit old, Miss? Sandra: No, not me... you! I'm the bloody teacher. Sandra and Billy

Mrs. Wilkinson introduces Billy to dancing in general and ballet in particular, and she realizes very quickly that he is her most talented student. She knows that he is talented enough to at least audition for the Royal Ballet School, but knows that it will sound strange to Billy, and to anyone else, that a boy from a mining family should pursue a calling to dance at the highest level. This comic exchange marks the first suggestion that Billy take his craft more seriously and pursue dance with passion and focus. It also shows the wry irreverent tone of both Billy and Sandra.

Grandma: I used to go to ballet. Billy: See? Jackie: All right for your Nana. For girls. No, not for lads, Billy. Lads do football...or boxing...or wrestling. Not friggin' ballet. Billy, Jackie, Grandma

Billy is triumphant when his grandmother tells his father that she used to take ballet classes. He feels that it validates his interest, but Jackie sees Grandma's dancing aspirations as proof that ballet is for girls and not for boys. This exchange marks the fact that Billy and others believe in his talent, while Jackie does not.

"Sorta feels good. Sorta stiff and that, but once I get going... then I like, forget everything. And... sorta disappear. Sorta disappear. Like I feel a change in my whole body. And I've got this fire in my body. I'm just there. Flyin' like a bird. Like electricity. Yeah, like electricity." Billy

At the end of his audition, when it seems like things have not gone very well for Billy, a judge asks him what it feels like when he dances. Billy says this as his response. It is an unformed, un-pre-meditated, and raw account of his emotional experience of dance. The descriptors he uses show the judges (and the viewer) that Billy has a deeply felt passion for his discipline, that it is something intrinsic to his very being.

Billy: I think I'm scared, Dad. Jackie: That's okay, son. We're all scared. Billy: Well... if I don't like it, can I still come back? Jackie: Are you kidding? We've let out your room. Billy and Jackie

Just before Billy goes to ballet school, he and his father visit his mother's grave, and Billy expresses his reservations about going away to school. While he is very passionate about dance, he knows that going to a fancy dance school in London will be a huge culture shock and will change the course of his life. Affectionately, his father jokes that he has no choice but to stay at the school, since he's going to be renting his room.

Billy: So what about your mother? Does she have sex? Debbie: No, she's unfulfilled. That's why she dances. Billy: She dances instead of sex? Your family's weird! Billy &amp; Debbie

Debbie, Sandra's daughter, tells Billy that her mother is unfulfilled in her marriage to her father, which is why she is so passionate about dance. In this moment we learn more about Sandra, and the fact that she is such a good teacher in part because she is making up for other parts of her life that are not so good.

"You're a ballet dancer, then let's be havin' it!" Tony

When Sandra goes to the Elliots' house to confront them about the fact that Billy missed his audition, Tony is indignant about his brother's interest, bullying his brother for his secret girly passion. He tells Billy to get on the table and dance to prove to them that he's a dancer. This moment epitomizes the aggressive and bullying disposition of Billy's older brother, Tony.

Sandra : She must've been a very special woman, your mother. Billy : No she was just me mam. Sandra and Billy

In this exchange, Sandra tries to sentimentalize her sympathy for Billy's loss of his mother. She tries to soften the fact of the loss by suggesting that his mother was special, but Billy takes a more straightforward approach, insisting that she wasn't special, she was just his mother. His candor suggests that his mother doesn't need to have been special for him to miss her.

"I'm going to let Mrs. Wilkinson use the bottom end of the boxing hall for her ballet lessons. So no hanky-panky, understood?" George, the boxing instructor

As George tells the boxers that Sandra is going to be using the gym for ballet, this marks the first point at which Billy sees the ballet class. This simple shared use of space, remarked upon casually by George, marks the beginning of a major shift in Billy's life.

Billy: Tony, do you ever think about death? Tony: Fuck off. Billy and Tony

Early on in the film, Billy tries to connect with his brother about the loss of their mother, but Tony has no interest, telling his younger brother to "fuck off." This shows that Tony has a bullying temperament, and that Billy is lonely in his own family.

Billy Elliot Questions and Answers

The Question and Answer section for Billy Elliot is a great resource to ask questions, find answers, and discuss the novel.

“Lads do football…or boxing…or wrestling. Not friggin’ ballet.” How does the film challenge the traditional notions of masculinity and femininity?

This movie takes place a long time before Harry Styles donned a dress and looked "way cool".

Gender is at the center of Billy's problems, even though he sees no issue with his interest in ballet. In the town where he is from, boxing is for boys...

Does Mrs. Wilkinson want Billy to come to boxing class next week?

Chapter please?

How does Billy Elliot portray the theme of being masculine?

Gender and masulinity is are at the center of Billy's problems, even though he sees no issue with his interest in ballet. In the town where he is from, boxing is for boys and ballet for girls, yet Billy's deep love for dance draws him towards...

Study Guide for Billy Elliot

Billy Elliot study guide contains a biography of director Stephen Daldry, literature essays, quiz questions, major themes, characters, and a full summary and analysis.

• About Billy Elliot
• Billy Elliot Summary
• Character List
• Director's Influence

Essays for Billy Elliot

Billy Elliot essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Billy Elliot, directed by Stephen Daldry.

• Young Men and Their Chosen Paths: Stephen Daldry's film Billy Elliot and Seamus Heaney's poem 'Follower'
• Making History Personal in 'Billy Elliot': Social and Cultural Upward Mobility under Thatcher’s Government
• Human Experiences Can Be Difficult but Transformative: Comparing 'Billy Elliot" and ‘Deng Adut University of Western Sydney Advertisement’

Wikipedia Entries for Billy Elliot

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Explore the representation of gender in the films 'Bend it like Beckham' and 'Billy Elliot'

Robert Luya 11GM

Explore the representation of gender in the films

‘Bend it like Beckham’ and ‘Billy Elliot’

The society we live in today is full of stereotypes. Each job, sport, item of clothing carries and many more carries a certain stereotype. When people go against and challenge these stereotypes they are seen as strange and unconventional and can end up stuck with these stereotypes for life.

In both films Billy Elliot and Bend it like Beckham we see stereotyping but in a different way in each one. In Billy Elliot we see a lot of stereotypes with the main ones being that boys shouldn’t do ballet and if they do then they must be gay. In Bend it like Beckham we also see a lot of stereotyping, with the mains ones being that girls shouldn’t play football and that all girl footballers are lesbians. In both films we see characters going about their lives trying to achieve what they want to do in life, but funding obstacles in their way because of society’s prejudices.  We see a variety of people with different views and how the main characters Billy and Jess, overcome these stereotypes and obstacles to do what they want and to change people’s views on them. The focus of this essay will be to identify the stereotypes, to explain why people stereotype in this way and how Billy and Jess change people’s views and overcome these stereotypes.

In Billy Elliot we see stereotypes about three main people in the film. The main and most obvious one is Billy; then there’s his dad and then his friend Michael. Billy’s dad is stereotyped as a tough Geordie miner, who doesn’t care what his son really wants to do; he does what’s best for his image in society of being ‘hard’ so the society around them respect them. He shows this image at the start when he says he wants Billy to do a mans sport like boxing but towards the end of the film he challenges this stereotype and changes and jus wants his son to be happy and does what’s best for him and he is proud of his son for what he does not caring if he loses the respect of his friends. This shows how he overcame the stereotype he had of being ‘tough’ and changed to back his son not caring what society thought of him. Billy’s friend Michael shows a stereotype that Geordies can’t be gay, as he is scared of everyone in society finding out as he feels that he wont be accepted because Geordies have a image of being ‘tough’ and he feels that he will ruin this image so he wont be accepted. In the film Michael also highlights one of the stereotypes that Billy has, that he must be gay because he does ballet. This shows how Billy gets stereotyped, even by his best friend, as being gay just because he does ballet. Billy also gets stereotyped when he’s young, as going to be a miner like the rest of his family, but when he says he doesn’t want to, and wants to do ballet, which is said to be for ‘upper class gay boys’ by the society he lives in he gets looked upon as strange and weird because he goes against the social expectation: namely, the expectation that working class Geordies don’t dance they work in the mines. These are the main stereotypes in Billy Elliot and it shows how society imposes expectations and the impact that these have on people’s lives.  

This is a preview of the whole essay

In Bend it like Beckham we also see stereotypes that people have to overcome in order to be happy. The main stereotypes and obstacles are faced by Jess and Jules, as they don’t do as their parents think they should. Jules’ mum wants her to buy feminine clothes and get a boyfriend, as she says that boys don’t like sporty girls. Which she shows when she says, “There’s as a reason why sporty spice is the only one without a boyfriend”, she doesn’t accept that Jules likes football and is happy, she wants Jules to be like ‘normal’ girls, which Jules but she just likes football. Jess also faces opposition playing football from her parents. She gets told that girls, and especially Indian girls, don’t play football. She is supposed to live up to her family expectations, which are, study hard, become a lawyer, learn to cook, and be a good family girl. When Jess says she doesn’t want to do this and goes against these expectations, her parents dislike that and they believe that she is disrespectful and that playing football is affecting her mind, just because she says she is only interested in football. Indian girls are stereotyped as always doing as their parents say all the time, so jess going against them is a shock. Jess’ parents also dislike her going around in shorts and she is showing too much skin, which is seen, as disrespectful and they feel she wont meet the right sort of Indian boy to marry. So when Jess shows a liking for Joe who is not an Indian of the same belief it is seen as sinful as she goes against what her parents want which Indian girls are stereotyped as never doing. The two girls also get stereotyped as being lesbians by their parents and society because they play football, which apparently only lesbian girls do. Jules also gets seen as lesbian because she has her hair short, which normal girls shouldn’t have, they should have long hair. So she gets stereotypes as being a lesbian because she has short hair. Another stereotype that we see in the film is that Indian boys aren’t gay. We see this because Jess’ friend Tony admits to Jess he is gay but can tell anyone, as it would be disrespectful for the family. This is shown as Jess goes’ “but… but your Indian”, showing that even she is shocked that he is gay. In the film you can tell that Indian family expectations are very high and are very rarely broken as this is disrespectful to the family, which is never acceptable.

In both films characters other than the main ones also get stereotyped, but not in such an obvious way. For example the men in the park are shown as not very sensitive and do not understand women’s feelings. This is highlighted in Bend it like Beckham where the only sensitive guy is Tony, and he’s gay. This shows that young men are inconsiderable which is not true and it could be seen as insulting to young men. Also in Bend it like Beckham Jess’ sister Binky stereotypes her sister as weird and not normal as she sneaks of to play football, not to meet boys like she does. This is shown at the start where her sister was thinking that because she was sneaking off she must be seeing a boy. She also thinks its weird that Jess isn’t really into boys like her so she feels she is weird because she is not like her. In Billy Elliot, Billy’s brother Tony stereotypes Billy as gay and calls him a ‘puff’ for dancing and he says, “no brother of mine is doing flipping ballet”, showing again that Geordies have a tough image and Tony feels Billy doing ballet could ruin his image in society.

In the two films the main characters like sports that aren’t expected for their gender. They all do a sport, which is dominant for the opposite gender, and they are seen as not normal because they go against these expectations. It is not fair to put these expectations on people, as it is their life they should be able to do what they want not what everyone else around them wants them to do. Most people try to persuade them to stop or change because they are worried about their own image to society. They don’t care about the other person and what they want to do jus themselves.

In the two films culture plays a huge part in the two stereotypes and it can make the problem harder like it does for Jess and Jules in Bend it like Beckham and Billy in Billy Elliot. In Billy Elliot, Billy is a northern, working class male, who have a tough, hard nut image and are supposed to only work in mines and when one of them rebels this pattern it is harder for him as he is seen as different to everyone else, and he is pressured into being ‘normal’. In Bend it like Beckham Jess finds it harder to do football that Jules because Jules’ family is English who’s main sport is football and she has the backing from her dad, and he lets Jules decide what she wants to do, but Jess is from an Indian family who are not big into football and she is supposed to do as her parents say. She is expected to become a lawyer, learn to cook, and be a good Indian girl, so when she opposes this she has a harder time as she is seen as not respecting her elders, which never happens in an Indian family.

I believe that showing these two as films is better than reading them as a book. This is because you get items such as music that you can get in a film that helps show the opposition they have to face and it helps show emotion more in faces etc. In Billy Elliot we know that Billy and Tony both like music by marc Bolon and that is ironic because he is sort of like Billy. We see this at the end where we see Billy wears make-up for the shows like Marc wears and they both do feminine things (ballet and singing). Also the music is used to intensify the scene. For example when strikers and police clash, hard, rock music is used to show the angry emotion. Billy’s emotions are shown when he dances through the music as it is a fast angry song when Billy dances till he drops when he is angry with his father. In Bend it like Beckham we hear music when the girls are playing football like Tom Jones’ ‘She’s a Lady’ which highlights that they are still girls even though they do what is generally a mans sport. We also hear Indian music when Jess’ family celebrate showing their religion. We see both sides of music when Jess does both things and they mix showing how Jess’ culture is mixing. Music is used in both films to highlight emotions and emphasise points which cant happen in books.

We also see scene cutting at the end of the football match and the wedding celebration in Bend it like Beckham. This again shows how Jess is mixed culture, and also with the mines striking and Billy doing ballet in Billy Elliot. Both of these cuts are showing what they should be doing with their culture but what they actually want to and are doing, showing how they are different from the normal trend in their cultures. Both films also use close up and long shots to show emotion and scenery that help to highlight the emotion again.

Both films help to challenge stereotypes and prejudice. They shoe how the people in the film are not what are expected of those stereotypes they are ‘normal’. They both show that you can achieve what you want even if everyone seems to be against you and sex, race doesn’t matter. The films make you realise that stereotyping is wrong and in the films views are changed and after viewing them mine are as well.

My views have only changed slightly a is know that girls play football and had stereotypes but I didn’t know that Indian girls play football as I thought that they wouldn’t as their parents would not allow it. Also I used to think that barely any working class boys do ballet a sit is mainly an upper class sport for boys but know I realise that anyone can do it if they want.

Document Details

• Word Count 2069
• Page Count 3
• Subject Sociology

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Billy Elliot Gender Stereotypes Essays

The sample essay on Billy Elliot Gender Stereotypes Essays deals with a framework of research-based facts, approaches and arguments concerning this theme. To see the essay’s introduction, body paragraphs and conclusion, read on.

Jacky is doing his best as a lone parent, but is pre-occupied with the ongoing strike, so Billy is left tending to himself and his Grandma (Jean Haywood). At all times Jacky rules his house with a stern hand and has the same prejudices towards ballet as every other typical man in the country.

So, when he finds out that Billy has been skipping his Boxing lessons and going to Ballet instead he is furious. Jacky reasons that Ballet is for “poofs” and that boys should be doing boys stuff like “football and wrestling.

” One critic wrote that ‘the movie is a catalyst for shifting attitudes and prejudices in the western world where male dancers are considered effeminate or queer. Ballet is a threat and blow to one’s masculinity in people’s minds.

Billy Elliot breaks through that prejudice and claims ballet to be an art that transcends gender. ‘ Jacky is under immense pressure, he can no longer support his family and his masculinity is compromised and he cannot fulfil the role of breadwinner. This is further emphasised when he breaks down in tears in the scene on Christmas day, which shows Jacky, Billy and His Grandmother in the picture.

Toxic Masculinity Thesis Statement

The mantelpiece is centre screen and this highlights the family feel, it is lightly decorated with tinsel this indicates there financial dire straits.

Proficient in: Gender

“ Amazing writer! I am really satisfied with her work. An excellent price as well. ”

On the whole, the audience gets the impression that Billy’s father has been overwhelmed by life in general. Jacky has had to cope with the loss of his wife and deal with the burden of the financial consequences as a result of the strike. Times are so bad that in order to stay warm, Jacky is forced to chop up his wife’s piano for firewood. On the night of Christmas, Billy and his friend Michael sneak into the Gym.

Billy’s friend Michael is close to adolescence and is becoming aware of his sexuality, this is implied by his secret pastime of wearing his sisters clothes and his mild attraction to Billy. Billy Elliot plays on the stereotype of homosexual men being very feminine; this is further accentuated by his need to wear a tutu in the Gym. It seems that his main purpose in the film is to establish Billy’s heterosexuality. In the centre of the boxing ring, a confined area usually reserved for two combatants to do battle becomes an arena for ballet. Billy begins to dance and show what he is really capable of by dancing to the music in freestyle.

Whilst Billy is dancing he is stopped for a brief moment by his father Jacky whose face expresses a deep disapproval. However, in defiance, Billy carries on dancing is further fuelled by his frustration at his father for his tyrannical attitudes towards ballet. The camera is always on Billy who is cast in the spotlight whilst the background is faded away in black. This scene shows Billy to be the true star and protagonist. Jacky is emotionally moved after witnessing Billy’s performance and runs away with a silent pride and incentive to support his son and his new found love.

In the context of the film, there is a great hatred towards the “scabs”. The mineworkers, who have decided not to strike and carry on working down in the mines, are regarded as the lowest of the low. So, it is one of the key moments of the film when Jack decides to go back down the “pits” in order to fund Billy’s ticket to London. Just as he is about to sign on, his son Tony (Jamie Draven) and his own sense of disgrace stop Jacky from committing this unforgivable act of duplicity. Billy’s brother, who is older by some number of years, also works in the mines.

The first impression that the viewer gets of Tony is that of a stereotypical big brother, who would give his younger sibling a slap round the head just for listening to his record collection. However, there is a lot more to Tony then just the big brother slant. Tony, who like his father, is on strike against the closure of the mines. He is young and hot headed, and prepared to go to the extremes in order to achieve his purposes. This is evident when he tries to arm himself against the riot police who are an imposing and faceless opposition, were deployed to stifle the protests made by the striking workers.

Tony who is somewhat of a working class rebel, he has been hardened from working in the mines and can be very aggressive, this is evident in the scene where Tony and his father meet a non-striking mineworker in the supermarket. An action totally justified by the cause of the striking miners. Tony, like his father, has found himself in a position where he has had to cope with the possibility of losing his entire future. He is emotionally unequipped with the ability to express himself properly so he does so by using the strike and picket lines as a medium to release his locked away emotions.

Tony shares the same attitudes towards ballet that everyone else in the community has and he is deeply displeased to find that his younger brother has taken it up as his main pastime. I think that Tony sees this as just another problem, and this affects the relationship between he and Billy. Only when Billy gains acceptance and support from his family does Tony finally rebuild his bond with Billy. After Billy gains support from his family, it seems that the entire community is feels the repercussions and all of their anti-artistic, anti-intellectual not to mention anti-gay prejudices disappear with Billy’s elation.

However unrealistic this seems, I feel it is a dramatic device to emphasise the acceptance and the broadening horizons of the Billy’s family. Some of the characterisations tend to be overly simple and stereotypical. For example, Billy’ friend Michael who is coming to terms with his homosexuality leans far to much towards the old stereotype of gay men wearing women’s clothes and being ‘a right sissy’. Billy Elliot director Stephen Daldry has woven into the cloth that is his debut piece a recurring Swan Lake theme. In one scene, where Billy is visiting Mrs Wilkinson’s house he is upstairs with her daughter Debbie.

The walls of her room are adorned with wallpaper that is covered with swans. Later Billy and Debbie’s talk is followed with a pillow fight, which results in several of the pillows ripping and feathers filling the room like some sort of mystical snow storm. The Middlesborough transporter bridge is featured symbolising the industrial might of the North, which is falling into rapid decline, this is juxtaposed with the musical score of Tchaikovsky written for Swan Lake. All of these references give the audience ammunition to make the connection with the old allegory of the ugly duckling that turned into the beautiful swan.

The director also added various other images that denote the situation that mining communities were faced with. For example, Daldry pictures a large billboard advertising a state-of-the-art washing machine. The mise-en-scene shows a very satisfied handsome young man on the advert. The caption on the board reads, “Your every faithful washday slave”. In the poor and gritty community of Billy’s town, a luxury of a washing machine is almost unheard of and the idea of a man doing it is even more rare. The advert is not at all representational of the people in Billy’s town.

The price of the machine alone is enough to make it an unattainable item, but also the ‘new man’ pictured within it is pure fantasy to the people of Everington. When Billy and his family find out the good news that he has gotten into the Royal School of Ballet, Jacky rushes down to the local Workingman’s club, only to find that the Union had finally given up. Jacky and Tony later follow this scene in their overalls and safety gear going back down into the “pits” via an elevator. This is perhaps symbolic of their situation, no secure job and literally going down the lift toward social depression and financial hardship.

In the context of the film, the plight of the miners strike is just a background detail that aids the narrative. However, it is worth reading into as it gives the audience a means to understand their situation. In 1979 the Thatcher government was elected into power. This was on the basis of an anti-collectivist program of economic reform and social discipline that was to bring devastation to the north of England over the whole of the 1980s. In England, the North became seen as an ‘enemy within’, a phrase actually used to describe the NUM (National Union of Mineworkers).

Billy Elliot has a very one sided point-of-view of the miners strike of 1984-1985. Thatcherism had an adverse effect on the north of England, the policy by which the free market approach to politics and economics rewarded the individual over the wider community, basically increasing the gap in between the rich and the poor. However, if Thatcher had given in to the Unions, England might not be in the state of prosperity that it currently is. The economic rebirth that England now enjoys is owed to Thatcher’s long-term strategy and ruthlessness she showed in carrying out her job.

This waning industrial background that Billy Elliot is set against could be compared with that of The Full Monty. In The Full Monty, an example of postmodern bricolege combing Ealing humour with social realism is a story about male unemployment in a depressed industrial city. The men in the film are struggling to come to terms there ever-changing masculinity or for some it seems lack of it. The two main characters are Gaz (Robert Carlyle) and Dave (Mark Addy). In the film, after finding out about the Chippendales are performing in the Men’s working bar Gaz is greeted with a poster depicting several muscular semi-naked men covered in oil.

Obviously threatened by this show of physical masculinity he immediately attacks the most important aspect of any man’s manhood, his penis. Gaz makes a comment on what sort of women would attend such a spectacle only to find that his best mate’s wife is in the club watching the strippers. Gaz immediately remarks that Dave should put his foot down a forbid his wife from going to such a thing, he adds ‘I saw you hovering and I let it go’, implying that Dave’s masculinity is undermined by carrying out conventional house-wife pursuits.

The Full Monty in terms of masculinity addresses a slightly different aspect in comparison to Billy Elliot. Both of the films share a specific style of communities; the stories of each revolve around communities and proceedings that are of direct consequence of the socio-economic realities of the places they are set. The communities represented have both experienced redundancy on a large scale as a result of Thatcherite reform. In The Full Monty the characters are striving to re-establish their own masculinity, this is achieved by being able to overcome the bigotries from within the community and to fulfil the role of the provider.

An intrinsic principle of manhood and masculinity in the film is to have your dignity and respect of your family and peers. Billy Elliot on the other hand, copes with a very different part of the masculine make-up. It deals with establishing your own identity and treading your own path through life. Billy Elliot is structured around the motif of escape; this involves rejecting the aggressive attributes of masculinity as portrayed by Tony, and replacing it with the desire to escape the constrictions of what is seen as violent, masculine culture of the working class.

It is Billy’s escape into dance which he describes as “a feeling of fire, of electricity in the body, everything else is forgotten” that allows him to define his masculinity in a way that you would hardly ever find in a male dominant community such as Everington. This masculinity seems more manly than ever at the end of the film, in which Jacky and Tony go to the opening night of Billy’s rendition of Swan Lake.

The audience watches in anticipation as the entire screen is taken up by a huge and muscular back of a ballet dancer, the areas that surround the adult Billy (played by professional ballet dancer Adam Cooper) are mainly dark, stressing the importance of his role. Then finally as the opening of the performance has just begun, Billy makes a climatic leap into the air. This is juxtaposed with his father’s tears of pride. The end of the film ultimately underlines that masculinity has many forms and features, and is thus defined by the person’s attributes and actions rather then the environment they inhabit.

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Billy Elliot – Human Experiences w/ Quotes, Techniques & Analysis

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Resource Description

Billy Elliot

Written by Stephen Daldry

Key ideas (human experiences)

• struggle with adversity (miners strike, low social class etc)
• Overcoming loss
• Overcoming societal expectations
• The search for identity
• Stereotypes and gender stereotypes 

Different social class – contrast between Billy’s old house and Mrs Wilkinson 

Lower social class – was due to the social class

• effects Billy’s ballet auditions

Challenges gender stereotypes

• ballet dancer
• Doesn’t like boxing, isn’t good at it
• Friends with Michael (is a poof)

Mrs Wilkinson steps in as mother figure

• she shows compassion – supports billy in his dream
• Not judgemental

Billy has little to no connection with family

• is progressive
• Challenges society’s stereotypes (is opinionated outspoken, doesn’t care that billy does ballet
• Middle class, still an outsider

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Home » Billy Eliot: Summary and Analysis

• Published October 8, 2023

Billy Eliot: Summary and Analysis

• English Guide

Written by Anna Jurman

In the world of cinema and theatre, there are stories that transcend their artistic mediums and capture the essence of human struggle, resilience, and passion. ‘Billy Elliot’ is one such narrative. This coming-of-age tale set against the backdrop of a gritty mining town in County Durham, England, has left an indelible mark on audiences worldwide since its release as a film in 2000 and later as a hit stage musical. In this blog post, we will embark on a journey through ‘Billy Elliot,’ delving into its heartwarming story, multifaceted characters, and the profound themes it explores. From a young boy’s unwavering pursuit of his dreams to the social and political context that shapes his path, ‘Billy Elliot’ is a poignant exploration of the power of determination and the transformative nature of art. Join us as we unpack the layers of this iconic tale and discover why ‘Billy Elliot’ continues to resonate with audiences of all ages.

“Billy Elliot” is a heartwarming and critically acclaimed film released in 2000, directed by Stephen Daldry and written by Lee Hall. The story is set against the backdrop of the coal miners’ strike in County Durham, England, during the 1980s. This strike, which lasted for over a year, was a pivotal moment in the history of British labor unions and the coal mining industry. It was marked by intense conflicts between the striking miners and the Thatcher government, leading to significant economic and social changes in the region.

In this tumultuous setting, we are introduced to the titular character, Billy Elliot, a young boy who discovers his passion for ballet amidst the chaos of the strike. The film explores themes of class struggle, gender norms, and the transformative power of art. It is a poignant portrayal of a working-class family’s challenges and their journey to accept and support Billy’s dreams of becoming a professional ballet dancer.

“Billy Elliot” not only captures the historical and socio-economic context of 1980s Britain but also delves deeply into the personal and emotional struggles of its characters. The film shines a spotlight on the traditional expectations placed upon boys in a mining community, where boxing or mining work is considered the norm. Against this backdrop, Billy’s passion for ballet challenges societal norms and sparks resistance from his family and the community.

Throughout the narrative, we witness the clash between Billy’s desire to pursue his dream and the harsh reality of his surroundings. This struggle not only mirrors the larger societal changes taking place during the miners’ strike but also underscores the universal theme of following one’s heart against all odds. “Billy Elliot” is a moving and inspirational story of self-discovery, resilience, and the enduring power of pursuing one’s passion, even in the face of adversity.

The film “Billy Elliot” is set in the coal mining town of County Durham, England, during the 1984-1985 coal miners’ strike. It follows the journey of 11-year-old Billy Elliot (played by Jamie Bell), the youngest son of a working-class family. Billy’s father, Jackie (Gary Lewis), and his older brother, Tony (Jamie Draven), are both miners involved in the strike, which creates a tense and uncertain atmosphere in their community.

The beginning of the film “Billy Elliot” introduces us to the harsh and gritty mining town of County Durham, England, during the mid-1980s. The town is in the midst of a bitter coal miners’ strike, with picket lines and protests defining the daily landscape. Amidst this tumultuous backdrop, we are introduced to the Elliot family, which consists of young Billy, his older brother Tony, and their widowed father, Jackie.

The film immediately establishes the difficult circumstances facing the family. The striking miners are facing off against the police, and the town is plunged into economic hardship. The Elliot family is deeply involved in the strike, and the male members of the family are expected to join the picket lines, adhering to the traditional role of the working-class miner.

However, it becomes clear that Billy is not entirely interested in following this path. In the opening scenes, we see him taking boxing lessons, but it becomes apparent that he lacks the enthusiasm and talent for it. Instead, he becomes captivated by the ballet class taking place in the same building. The contrast between the brutal world of boxing and the graceful world of ballet is stark, setting up the central conflict of the film – Billy’s desire to pursue his passion for ballet in a community where it is considered unconventional and unacceptable for a boy.

The beginning of “Billy Elliot” effectively establishes the setting, the family’s struggles, and Billy’s initial exposure to ballet. It sets the stage for the film’s exploration of themes such as societal expectations, gender norms, and the pursuit of one’s dreams amidst adversity.

The middle portion of the film “Billy Elliot” is marked by significant character development, emotional turmoil, and Billy’s growing determination to pursue his passion for ballet despite numerous challenges. Here’s a summary of the middle part of the film:

As the miners’ strike continues to grip the town of County Durham, tensions escalate both within the community and within Billy’s family. Billy’s father, Jackie, remains steadfastly involved in the strike, while his older brother, Tony, becomes increasingly disillusioned with the strike’s prospects. The turmoil in the family home mirrors the larger conflicts in the mining town.

Meanwhile, Billy’s dedication to ballet deepens. He secretly continues to attend classes at Mrs. Wilkinson’s dance studio, where he receives special attention from the tough but caring dance teacher. Billy’s natural talent becomes more apparent, and he begins to excel in his dance training. His passion for ballet provides an escape from the harsh realities of his life and the ongoing strife in the community.

Billy’s pursuit of ballet becomes riskier as his family’s financial situation worsens due to the strike. Jackie, struggling to provide for his family, discovers Billy’s secret and initially reacts with anger. However, as he witnesses his son’s talent and determination, he begins to come to terms with Billy’s unconventional choice.

The middle part of the film is also marked by the budding friendship between Billy and his close friend Michael, who secretly reveals his own struggles with his sexual identity. Their friendship provides a supportive and understanding bond, allowing them to confide in each other during a time of personal growth and self-discovery.

As the strike intensifies, the community’s plight becomes more dire, and the conflict between the striking miners and the police escalates. Amidst this backdrop, Billy receives an opportunity to audition for the prestigious Royal Ballet School in London. The film’s middle section culminates in a poignant and emotionally charged audition scene, where Billy’s talent and passion are on full display, leaving the audience with a sense of hope and anticipation for the film’s conclusion.

Overall, the middle part of “Billy Elliot” is a crucial juncture in the story, as it portrays the evolving relationships, personal growth, and the determination of the film’s characters in the face of adversity. It sets the stage for the film’s powerful and uplifting resolution as Billy’s journey toward becoming a ballet dancer continues to unfold.

The end of the film “Billy Elliot” brings a heartwarming and triumphant resolution to Billy’s journey. As the film draws to a close, Billy auditions for the prestigious Royal Ballet School in London, showcasing his incredible talent and determination in a powerful dance performance. His family, including his father and brother, who initially resisted his pursuit of ballet, attend the audition to support him.

In a touching moment, Billy’s father realises the depth of his son’s talent and passion, as well as the immense pride he feels for him. This realisation marks a significant turning point in their relationship.

The film ends with Billy successfully earning a place at the Royal Ballet School, signifying not only his personal triumph but also a break from the societal expectations and limitations of his working-class community. It’s a poignant reminder of the transformative power of following one’s dreams, the importance of breaking free from traditional gender roles, and the enduring bond of family.

Overall, the end of “Billy Elliot” leaves viewers with a sense of hope and inspiration, celebrating the idea that with perseverance and support, individuals can overcome obstacles and achieve their dreams, no matter where they come from or who they are expected to be.

Character Analysis

Billy elliot.

Billy Elliot, the eponymous character of the film, is a young boy whose journey is at the heart of the story. At the beginning of the film, Billy is introduced as an ordinary eleven-year-old boy living in a working-class mining community in County Durham, England. He is expected to follow the traditional path of the other boys in his town, which is to grow up to become a coal miner. However, Billy harbours a secret passion for ballet, a world that is perceived as entirely at odds with the tough, masculine environment of his community.

Billy’s character is defined by his incredible determination and courage. Despite facing numerous obstacles, including his father’s initial disapproval and the societal expectations placed upon him, Billy relentlessly pursues his dream of becoming a ballet dancer. He discovers his own identity and begins to challenge gender norms and expectations.

Throughout the film, Billy undergoes a profound transformation. He starts as a timid and introverted boy but gradually gains self-confidence as he hones his ballet skills. His journey is not only about pursuing his love for dance but also about finding his voice and asserting his individuality in a community where conformity is the norm.

Billy’s relationship with his family, particularly his father and brother, is a central aspect of his character development. His father, Jackie, represents the traditional values of their community and initially opposes Billy’s ballet pursuits. However, as he witnesses Billy’s talent and determination, he undergoes a transformation of his own, learning to accept and support his son’s passion.

In essence, Billy Elliot’s character embodies themes of self-discovery, resilience, and breaking free from societal constraints. He serves as a symbol of hope and inspiration for anyone who aspires to pursue their dreams, regardless of the obstacles they may face. Billy’s journey is a testament to the transformative power of following one’s heart and embracing one’s true self.

Jackie Elliot

Jackie Elliot, portrayed by Gary Lewis in the film “Billy Elliot,” is a complex and pivotal character within the narrative. He represents the traditional working-class values and the challenges faced by a family in a coal mining community during the tumultuous times of the 1980s miners’ strike in County Durham, England.

Jackie Elliot epitomises resilience and tenacity as a coal miner struggling to make ends meet amidst the backdrop of a bitter strike. His character embodies the harsh realities faced by working-class families during this period, as they fought for their livelihoods against the backdrop of a changing economic landscape.

At the start of the film, Jackie is characterised by his resistance to change and his adherence to traditional gender norms. He embodies the conservative values of his community, initially unable to accept his son Billy’s passion for ballet. His staunch opposition stems from the deeply ingrained belief that ballet is not an appropriate pursuit for a boy from their background.

Jackie’s character undergoes significant development throughout the film. As he grapples with the miners’ strike, he gradually comes to understand the depth of Billy’s passion and talent for ballet. His evolving perspective is a testament to his capacity for personal growth and his love for his son.

Jackie’s relationship with Billy and his older son, Tony, forms a central emotional arc of the film. The tension and conflict within the family create a powerful backdrop for Billy’s journey of self-discovery. Jackie’s eventual support for Billy’s dreams underscores the enduring strength of familial bonds.

In many ways, Jackie represents a generation caught in the midst of changing times. The decline of the coal mining industry, the miners’ strike, and Billy’s pursuit of ballet symbolise the shifting social and economic landscape of their community. Jackie’s character encapsulates the challenges and uncertainties faced by many during this period of transition.

Gary Lewis’s portrayal of Jackie adds depth and authenticity to the character. His performance captures the emotional turmoil and conflicts that Jackie experiences as he grapples with his son’s unconventional passion and the weight of his responsibilities as a miner and a father.

In summary, Jackie Elliot is a multifaceted character in “Billy Elliot” who represents the struggles, values, and eventual evolution of a working-class family during a time of significant societal change. His transformation from resistance to acceptance of Billy’s dreams showcases the film’s central message about the transformative power of pursuing one’s passion and the importance of understanding and supporting loved ones in their journey toward self-discovery.

Tony Elliot

Tony Elliot is a complex character in “Billy Elliot,” and his evolution throughout the film is crucial to the story’s exploration of themes such as family, societal expectations, and the impact of the miners’ strike on a working-class community.

At the beginning of the film, Tony is presented as a tough and protective older brother to Billy. He is deeply involved in the miners’ strike, fighting for the rights of the coal miners. Tony’s initial reaction to Billy’s interest in ballet is one of skepticism and frustration. He represents the prevailing attitudes of the mining community, where traditional gender roles are strictly enforced, and ballet is seen as a pursuit at odds with their working-class identity. Tony’s resistance to Billy’s dreams is emblematic of the broader societal expectations placed on boys in their community, emphasising the importance of being a “tough” and “manly” miner.

As the story unfolds, Tony’s character undergoes significant development. He begins to understand the depth of Billy’s passion and talent for ballet, particularly after witnessing his brother’s powerful audition for the Royal Ballet School. This realisation marks a turning point in Tony’s character arc. It reflects the film’s central theme of breaking free from rigid gender roles and societal expectations. Tony’s transformation also symbolises the community’s gradual acceptance of Billy’s unconventional path.

Ultimately, Tony’s character journey underscores the film’s message about the importance of family support and unconditional love. His willingness to stand by Billy, despite the initial clash of their worldviews, speaks to the enduring bond between brothers. In the end, Tony becomes a symbol of change and progress within the mining community, representing the possibility of embracing new ideas and breaking free from the constraints of tradition.

Tony Elliot’s character in “Billy Elliot” serves as a powerful representation of the struggle between tradition and individuality, as well as the transformative impact of pursuing one’s dreams. His evolution from a skeptical and protective older brother to a supportive advocate for Billy’s passion is a testament to the film’s underlying themes of acceptance and the breaking of societal norms.  

Mrs. Wilkonson

Mrs. Wilkinson, portrayed by Julie Walters in the film “Billy Elliot,” is a complex character who plays a pivotal role in the life of the film’s protagonist, Billy Elliot.

Mrs. Wilkinson serves as Billy’s ballet teacher, and her role as his mentor is central to the story. Initially, she sees potential in Billy and recognises his natural talent for dance. She encourages him to pursue ballet seriously, believing that it could be his ticket to a better life. Her dedication to teaching and her commitment to helping Billy realise his potential demonstrate her genuine concern for his future.

While Mrs. Wilkinson is a supportive figure in Billy’s life, she is not without her flaws. She can be strict, demanding, and at times, even harsh with her teaching methods. However, this toughness is rooted in a desire to push Billy to his limits and help him achieve his full potential. Her high expectations reflect her belief in his abilities and the significance of this opportunity for him.

Mrs. Wilkinson’s character provides an interesting contrast to Billy’s working-class background. She represents a different world – one of culture, refinement, and aspirations beyond the mining town. This contrast underscores the challenges Billy faces in pursuing his passion for ballet, as it challenges the norms and expectations of his community.

Throughout the film, it becomes evident that Mrs. Wilkinson has made personal sacrifices in her life. She mentions a failed marriage and her devotion to teaching as a way to find fulfillment. Her character highlights the sacrifices individuals make in pursuit of their own dreams and the impact these sacrifices can have on their relationships and personal lives.

Beyond her role as a teacher, Mrs. Wilkinson provides emotional support to Billy. She becomes a trusted confidante and encourages him to express his feelings and fears. This emotional connection is crucial in helping Billy navigate the challenges he faces, both within and outside the ballet studio.

Mrs. Wilkinson’s character is instrumental in Billy’s transformation throughout the film. She not only introduces him to the world of ballet but also instills in him the belief that he can break free from the limitations imposed by his community and family. Her guidance and mentorship ultimately empower Billy to pursue his passion with unwavering determination.

In “Billy Elliot,” Mrs. Wilkinson’s character is a multi-dimensional figure who plays a crucial role in shaping the narrative and the growth of the protagonist. Her combination of tough love, high expectations, and genuine care for Billy makes her a compelling character in the film, and her impact on his journey is profound.

Michael Caffrey

Michael Caffrey, portrayed by Stuart Wells in “Billy Elliot,” is a character with depth and complexity, and his presence in the film contributes significantly to the story’s themes and emotional resonance.

Michael serves as Billy’s best friend and confidant in the mining community of County Durham. One of the most striking aspects of Michael’s character is his courage in a time and place where societal norms rigidly define masculinity. It becomes evident early in the film that Michael is exploring his own identity and sexuality. This exploration is symbolized by his secret desire to dress in women’s clothing, a detail that he initially shares only with Billy. Michael’s journey in the film is a poignant representation of the challenges faced by LGBTQ+ individuals, especially in conservative and traditional communities.

Michael’s friendship with Billy is a source of strength for both characters. Their close bond provides a safe space where they can express their true selves without fear of judgment. Michael’s unwavering support for Billy’s passion for ballet is a testament to the depth of their friendship. He becomes not only a dance partner but also a source of encouragement and understanding as Billy navigates the challenges of pursuing his dreams in a community resistant to change.

Throughout the film, Michael’s character demonstrates resilience and bravery, particularly when he faces hostility and discrimination from others in the community who discover his secret. His willingness to be true to himself, even in the face of adversity, aligns with the film’s overarching themes of breaking free from societal norms and expectations. In this sense, Michael serves as a parallel character to Billy, as both boys defy traditional gender roles and expectations placed upon them.

Ultimately, Michael Caffrey’s character in “Billy Elliot” adds depth and complexity to the film’s exploration of identity, friendship, and the transformative power of pursuing one’s passion. His journey highlights the challenges faced by LGBTQ+ individuals in a conservative environment and underscores the importance of acceptance and support from those who truly care about us.

Debbi Wilkinson

Debbie Wilkinson is a supporting character in the film “Billy Elliot,” and although her role is not central to the narrative, she provides essential insights into the story’s themes and character dynamics.

Debbie Wilkinson, portrayed by Nicola Blackwell, is one of Billy’s friends in the film. She represents the element of support and friendship in Billy’s life during his pursuit of ballet. Debbie is open-minded and accepting of Billy’s passion for dance, standing in stark contrast to the initial resistance he encounters from his own family, particularly his father and brother. Her friendship and encouragement demonstrate the importance of having allies who believe in one’s dreams, even in a challenging environment.

Like Billy, Debbie challenges traditional gender stereotypes that were prevalent in their working-class community during the 1980s. While the other boys are expected to engage in activities such as boxing or mining, Debbie is shown participating in activities like boxing as well. Her presence in the film reinforces the idea that individuals should not be confined by societal expectations based on gender, and that passions and talents can transcend these limitations.

Debbie appears to be more perceptive and empathetic than some of the other characters. She recognises Billy’s talent and desire to dance and encourages him without judgment. Her sensitivity to his needs and feelings makes her a valuable friend and ally in his journey of self-discovery.

In the midst of the tumultuous miners’ strike and Billy’s pursuit of ballet, Debbie represents a sense of normalcy and youthful innocence. Her presence offers a contrast to the weighty issues surrounding the characters, providing moments of levity and reminding the audience of the joys of childhood friendship and camaraderie.

Debbie, along with characters like Mrs. Wilkinson and Michael, symbolises a shift in attitudes and social progress. Their acceptance and support of Billy’s unconventional dreams reflect changing perceptions in a society undergoing transformation. Their presence signifies that change is possible, even in traditionally conservative communities.

In summary, Debbie Wilkinson may not be a central character in “Billy Elliot,” but her role is significant in highlighting the themes of friendship, gender stereotypes, and societal progress. Her unwavering support for Billy underscores the idea that true friends can provide a vital source of encouragement and affirmation, especially when one is pursuing their dreams in the face of adversity.  

Grandma, portrayed by Jean Heywood in “Billy Elliot,” is a character who may seem unassuming at first but carries a quiet and significant presence in the film.

Grandma represents a link to the past and serves as a symbol of tradition and stability in the Elliot family. Amidst the chaos of the miners’ strike and the evolving dynamics of the household, Grandma remains a steadfast and comforting presence. Her old-fashioned values and demeanour contrast with the changing world around her, providing a sense of continuity and familiarity to the family.

Although Grandma doesn’t have many lines of dialogue in the film, her observant nature is evident. She watches the unfolding events and interactions within the family with a keen eye. Her wisdom shines through in her few spoken words, often offering subtle but meaningful insights into the family’s struggles and emotions. Her presence is a source of quiet strength.

Grandma’s character represents the perspective of the older generation in the mining community. Her experiences and memories harken back to a different era when the mining industry was thriving and societal norms were more rigid. Through her character, the film subtly conveys the generational divide and the challenges faced by older members of the community in accepting the changing aspirations and identities of the younger generation.

Despite her limited interactions with Billy, Grandma’s support for him becomes evident. She may not fully understand his passion for ballet, but she does not judge him for it either. In her own way, she provides a quiet form of acceptance, allowing Billy the space to explore his dreams without the burden of additional judgment within the household.

Grandma’s presence takes on deeper emotional resonance as the film progresses. Her passing, while not shown on screen, marks a significant moment in the story. Her absence further highlights the changes and challenges faced by the Elliot family and the broader community.

In “Billy Elliot,” Grandma’s character serves as a poignant reminder of the passage of time and the values of an older generation. Her wisdom, stability, and quiet support contribute to the film’s exploration of the complexities of family dynamics and societal change. Though her role may be understated, her presence adds depth and nuance to the narrative, making her a cherished character in the story.

Mr. Braithwaite

Mr. Braithwaite in “Billy Elliot” may not have a central role in the film, but his character adds depth and nuance to the story.

Mr. Braithwaite serves as the pianist in Mrs. Wilkinson’s ballet class, where Billy Elliot takes his first steps toward pursuing his passion for dance. Though his role may seem minor, he plays a significant part in the development of Billy’s character and the broader themes of the film.

Mr. Braithwaite is portrayed as a quiet, unassuming man who seems to have accepted his role as the piano player in a small-town ballet class. He rarely speaks, and his demeanour is rather reserved. However, his silent presence is felt throughout the film, and it contrasts sharply with the vibrant and expressive characters surrounding him.

Mr. Braithwaite’s character serves as a symbol of the unspoken beauty and passion that can be found in the most unexpected places. He is a reminder that even in the working-class community of County Durham, where traditional gender roles are deeply entrenched, there are individuals who appreciate and contribute to the arts.

Mr. Braithwaite’s piano playing provides the musical backdrop for Billy’s early dance lessons. His music, though not prominently featured, is the foundation upon which Billy’s talent and passion are nurtured. In a way, Mr. Braithwaite’s contribution allows Billy to discover his love for dance, as well as the sense of freedom and self-expression it offers.

In a film filled with characters who are vocal and expressive about their thoughts and feelings, Mr. Braithwaite stands out as a character of few words. This contrast highlights the idea that passion and talent can sometimes be hidden beneath the surface, waiting for the right moment to emerge. His understated presence also contrasts with the bold and unconventional personalities of characters like Mrs. Wilkinson and Billy.

Mr. Braithwaite’s presence subtly empowers Billy and the other young dancers in the class. By providing the music that accompanies their movements, he contributes to their self-discovery and growth. His quiet support allows Billy to find his voice through dance, even as the strike and social expectations threaten to suppress his dreams.

In summary, Mr. Braithwaite may not have a leading role in “Billy Elliot,” but his character is a testament to the idea that every individual in a community has the potential to contribute to the arts and inspire others. His quiet dedication to music plays a vital role in nurturing Billy’s passion and serves as a reminder of the transformative power of art in even the most unlikely of places.

Scab Dancers

The “Scab Dancers” in the film “Billy Elliot” serve as symbolic figures representing the broader socio-economic context of the coal miners’ strike in County Durham during the 1980s. While they may not have individual names or in-depth character development, their presence is significant and plays a vital role in the story.

The scab dancers are brought in as replacement workers for the striking coal miners, who are protesting against the closure of the mines. They symbolise the economic desperation and the harsh realities faced by the working-class community during this tumultuous time. These replacement workers represent a divisive element within the community, as they are seen as undermining the striking miners’ efforts to protect their livelihoods.

From a thematic standpoint, the scab dancers embody the conflict between the traditional, male-dominated mining industry and the emerging world of artistic pursuits represented by Billy’s passion for ballet. Their appearance at the same time as Billy’s pursuit of dance creates a powerful juxtaposition, highlighting the contrast between the stereotypical expectations for boys in the community and the path Billy chooses to follow.

The scab dancers are a reminder of the economic hardships faced by many families, including Billy’s, which adds complexity to his journey. While the striking miners and their families are enduring financial hardships, Billy’s pursuit of ballet may seem impractical and frivolous to some. This tension underscores the challenges Billy faces in pursuing his dream, as he must navigate not only the expectations of gender roles but also the economic struggles within his community.

In conclusion, the scab dancers in “Billy Elliot” may not have fully developed individual characters, but they play a crucial symbolic role in representing the socio-economic context of the miners’ strike and the broader themes of the film. Their presence highlights the tension between tradition and change, economic hardship, and the pursuit of one’s passion, all of which contribute to the complexity of Billy’s journey and the story’s overarching narrative.

Passion and Dreams

The theme of “Passion and Dreams” in the film “Billy Elliot” is a central and deeply resonant one. It encompasses the idea that pursuing one’s passion and dreams can be a transformative and liberating experience, even in the face of formidable obstacles.

At the heart of the film is Billy’s deep and unwavering passion for ballet. From the moment he stumbles upon a ballet class, he is captivated by the art form. His passion is not merely a passing interest; it becomes the driving force in his life. This passion is depicted as an intrinsic part of his identity, and he feels most alive when he is dancing.

The theme of passion and dreams is intertwined with the struggle against societal expectations and norms. In Billy’s mining community, boys are expected to follow in their fathers’ footsteps and work in the coal mines. Ballet is seen as antithetical to this tradition, and Billy’s pursuit of it is met with resistance and prejudice. This conflict highlights the tension between individual desires and societal expectations.

As Billy hones his ballet skills, he experiences significant personal growth and self-discovery. Pursuing his passion forces him to confront his own fears, doubts, and insecurities. Through dance, he discovers his own capabilities and potential, and he gains a newfound sense of confidence and purpose.

Billy’s journey serves as a powerful illustration of breaking through barriers, both external and internal. His determination to audition for the Royal Ballet School challenges not only the limitations of his working-class background but also the deeply ingrained gender stereotypes about what boys can and cannot do. His passion becomes a catalyst for change within himself and his community.

While the film explores the struggle against expectations, it also portrays the importance of family support and acceptance. Initially, Billy’s father and brother are skeptical and even resistant to his pursuit of ballet. However, as they witness his talent and dedication, they gradually come to accept and support his dreams. This highlights the theme that love and acceptance can ultimately prevail over prejudice and rigid beliefs.

The culmination of the theme of passion and dreams is seen in Billy’s success. His acceptance into the Royal Ballet School signifies the realisation of his dream. It underscores the idea that pursuing one’s passion can lead to personal fulfilment and achievement, regardless of the obstacles faced along the way.

In conclusion, “Billy Elliot” uses the theme of passion and dreams to convey a powerful and inspirational message. It celebrates the transformative potential of following one’s heart and the resilience required to overcome societal expectations and prejudices. Billy’s journey serves as a testament to the enduring power of passion and the pursuit of one’s dreams, making it a deeply resonant and emotionally compelling theme in the film.

Gender Norms and Expectations

The theme of gender norms and expectations is central to “Billy Elliot” and is explored in depth throughout the film.

“Billy Elliot” is set in a working-class mining community in the 1980s, where traditional gender roles are strongly emphasised. Men are expected to become coal miners, mirroring their fathers and grandfathers, while women are expected to fulfil more traditional roles within the household. This societal framework serves as the backdrop against which Billy’s journey unfolds.

Billy’s passion for ballet challenges these gender norms from the outset. Ballet is perceived as a feminine pursuit within the community, and Billy’s pursuit of it raises eyebrows and invites ridicule. His desire to dance symbolises a break from the traditional expectations placed upon boys, and this conflict forms a central part of the film’s narrative.

Billy’s family initially resists his interest in ballet, with his father and brother being particularly skeptical. Their resistance is rooted in the deeply ingrained gender norms of their community. Their initial reactions reflect the broader societal prejudice against boys engaging in activities deemed “unconventional” for their gender.

Billy’s determination to continue with ballet in the face of resistance is a testament to his strength of character. He defies the expectations placed upon him by his community, demonstrating that one’s gender should not limit their pursuits or passions. His journey inspires others in the community to challenge their own biases.

Michael, Billy’s best friend, adds another layer to the exploration of gender norms. He is grappling with his own identity and sexuality, and his cross-dressing reveals the complexity of gender and sexual orientation. Michael’s friendship with Billy and their shared acceptance of each other’s differences exemplify the theme of breaking free from restrictive gender norms.

One of the most powerful aspects of the film is the transformation of Billy’s family dynamics. Initially resistant to his ballet aspirations, his family eventually comes to support him wholeheartedly. This evolution showcases the potential for change and growth in individuals and communities when confronted with non-conforming gender roles.

As the film progresses, Billy’s dedication to ballet becomes a source of empowerment and liberation. His talent transcends traditional gender boundaries and allows him to express himself fully. This theme underscores the idea that individuals should have the freedom to pursue their passions without being limited by societal expectations.

The film’s portrayal of changing gender norms and expectations is also reflective of broader social change occurring in the 1980s. The miners’ strike, which is central to the film’s setting, represents not only economic struggles but also a changing landscape of opportunities and expectations for individuals.

In conclusion, “Billy Elliot” delves deep into the theme of gender norms and expectations, offering a compelling narrative that challenges traditional roles and underscores the importance of pursuing one’s passions and individuality, regardless of societal norms. The film’s exploration of this theme remains relevant and inspiring, encouraging viewers to question and reevaluate their own perceptions of gender and identity.

Family and Support

The theme of “Family and Support” is central to the film “Billy Elliot” and is explored through the relationships among the characters, particularly within the Elliot family.

At the beginning of the film, Billy’s pursuit of ballet is met with resistance and conflict within his family. His father, Jackie, and older brother, Tony, are initially opposed to the idea of him dancing, viewing it as an unconventional and unmanly pursuit. This conflict highlights the tension between Billy’s individual dreams and the traditional expectations of his family and community.

As the story unfolds, the theme of family and support becomes evident in the transformation of the relationships within the Elliot family. Despite their initial resistance, both Jackie and Tony eventually come to understand and support Billy’s passion. Jackie’s realisation of the depth of Billy’s talent and his decision to support him mark a significant turning point in the film. This transformation underscores the capacity for growth and change within familial relationships.

The film portrays the unconditional love between Billy and his family. Despite their differences and conflicts, it is evident that the Elliots genuinely care for one another. Their love for Billy ultimately transcends societal expectations, leading them to embrace his dreams. This portrayal of love highlights the importance of familial bonds and acceptance.

Mrs. Wilkinson, Billy’s dance teacher, serves as a supportive figure outside of his family. She recognises his talent and encourages him to pursue ballet, providing guidance and mentorship. Mrs. Wilkinson’s role demonstrates how individuals outside the immediate family can have a significant impact on a young person’s development.

The theme of support extends beyond the family unit to the broader community. Despite the challenges faced by the miners during the strike, they come together to raise funds to send Billy to the Royal Ballet School. This collective support underscores the idea that community members can rally around a shared goal and support one another in times of need.

“Billy Elliot” ultimately celebrates the acceptance and growth of its characters. Jackie and Tony, who initially struggled with Billy’s aspirations, come to appreciate the importance of his dreams. This growth reflects the idea that individuals can evolve, learn from one another, and adapt to changing circumstances, ultimately strengthening their bonds.

In conclusion, the theme of “Family and Support” in “Billy Elliot” highlights the complexities of familial relationships and the transformative power of love and acceptance. It emphasises that even in the face of initial resistance and conflict, families can evolve, support one another’s dreams, and provide the foundation for personal growth and self-discovery. This theme adds depth and emotional resonance to the film, making it a heartwarming exploration of the importance of family bonds.

Socio-Economic Struggles

The theme of socio-economic struggles is a central and deeply resonant element in the film “Billy Elliot.” It serves as a backdrop against which the characters’ motivations, conflicts, and transformations are portrayed.

The coal miners’ strike in County Durham during the 1980s is a symbol of the broader socio-economic struggles faced by working-class communities in the region. The strike represents the desperation of miners and their families as they fight against the closure of the coal mines, which threatens their livelihoods and way of life. This conflict is emblematic of the economic hardships endured by many families.

The strike’s impact on family dynamics is a key aspect of the socio-economic struggles theme. Billy’s family, like many others in the community, faces financial hardship due to the strike. His father, Jackie, and older brother, Tony, are actively involved in the strike, leading to tension and stress within the household. This strain on family relationships reflects the real-life challenges faced by families during the strike.

The film underscores the limited opportunities available to individuals in the mining town. Many of the adults in the community, including Jackie and Tony, have spent their entire lives working in the mines, and they are resistant to change. The lack of alternative career paths and educational opportunities highlights the cycle of poverty and limited choices faced by the working-class.

Billy’s pursuit of ballet stands out as an anomaly within the community’s socio-economic context. While others are struggling to maintain their traditional way of life, Billy’s aspiration to become a ballet dancer challenges societal norms and expectations. His dream represents the possibility of breaking free from the limitations imposed by socio-economic circumstances.

The theme of socio-economic struggles also highlights the sacrifices made by families for the sake of their children’s futures. Despite their financial difficulties, Billy’s family ultimately supports his passion for ballet, demonstrating the lengths to which parents are willing to go to provide opportunities for their children.

The film portrays a sense of community solidarity during the miners’ strike. The striking miners and their families come together to support one another in their struggle for better working conditions and job security. This solidarity reflects the resilience and determination of working-class communities facing socio-economic challenges.

In conclusion, the theme of socio-economic struggles in “Billy Elliot” serves as a powerful and authentic backdrop against which the characters’ journeys unfold. It highlights the economic hardships, limited opportunities, and family dynamics within a working-class mining community during a period of significant socio-economic change. This theme adds depth and relevance to the film, making it a poignant exploration of the human spirit’s capacity to transcend adversity and pursue one’s dreams despite challenging circumstances.

Resilience and Determination

The theme of resilience and determination is a central and powerful element of “Billy Elliot.” This theme is explored through the characters and their unwavering commitment to pursuing their dreams and facing adversity head-on.

At the heart of the film is Billy’s passion for ballet. Despite growing up in a mining community where traditional gender roles and expectations are rigidly enforced, Billy remains determined to pursue his dream of becoming a ballet dancer. His resilience is evident in his consistent practice, dedication, and the sacrifices he makes to attend ballet lessons. His unwavering determination inspires those around him.

The backdrop of the coal miners’ strike serves as a powerful example of collective resilience and determination. The striking miners and their families are confronted with economic hardships and social pressures, yet they remain steadfast in their fight for their livelihoods. Their resilience is portrayed through their unity, their perseverance during protests, and their ability to support one another in the face of adversity.

Billy’s father, Jackie, experiences a significant transformation throughout the film. Initially resistant to Billy’s pursuit of ballet, Jackie ultimately recognises the depth of his son’s talent and the importance of supporting his dreams. This transformation showcases the power of resilience in the face of personal prejudice and the ability to evolve one’s perspective.

The entire mining community demonstrates resilience as they come together during the miners’ strike. They organize protests, support one another with food and resources, and endure the hardships brought about by the strike. This resilience is a testament to the strength of a community facing adversity.

The characters in the film also display emotional resilience. They confront grief, prejudice, and societal expectations, yet they find ways to cope with these challenges and move forward. For instance, Billy and his friend Michael provide each other with emotional support in their respective struggles.

Ballet, as an art form, requires a high degree of discipline and determination. Billy’s passion for ballet serves as a symbol of his inner resilience and the transformative power of artistic expression. Through ballet, he finds an outlet to channel his emotions and transcend the limitations imposed by his environment.

In summary, “Billy Elliot” beautifully portrays the theme of resilience and determination through the characters’ journeys. It highlights the importance of pursuing one’s dreams, even when faced with societal expectations, economic hardships, and personal doubts. The film celebrates the indomitable spirit of individuals and communities in the face of adversity, emphasising that with determination and support, one can overcome obstacles and achieve their aspirations.

Social change and Transformation

The theme of “Social Change and Transformation” is a central and overarching element in the film “Billy Elliot.” Set against the backdrop of the coal miners’ strike in County Durham, England, during the 1980s, the film vividly portrays the impact of societal shifts and challenges traditional norms.

The coal miners’ strike serves as a powerful symbol of economic transformation. The decline of the coal mining industry, accompanied by the shift towards other forms of energy production, marks a profound change in the economic landscape of the region. The striking miners and their families face severe financial hardships, and this economic struggle is a driving force behind many of the characters’ actions and decisions.

The strike also highlights the class struggle that was prevalent in British society at the time. The miners represent the working-class, while the government and coal mine owners symbolise the upper class. The film portrays the tensions and conflicts that arise when these two social classes clash over issues of livelihood, workers’ rights, and the future of the mining industry.

“Billy Elliot” challenges traditional gender roles and expectations in a conservative, working-class community. Ballet is traditionally seen as a feminine pursuit, and Billy’s decision to pursue it as a young boy challenges societal norms. The film demonstrates the resistance and prejudice he faces from those who expect him to conform to traditional notions of masculinity, such as boxing or mining.

The film explores generational differences in attitudes and perspectives. While Billy’s father, Jackie, and brother, Tony, initially resist his passion for ballet due to their adherence to traditional values, they eventually come to understand and support him. This generational transformation illustrates the changing attitudes toward gender roles and individuality.

The film highlights the transformative power of education and exposure to the arts. Mrs. Wilkinson’s dance class becomes a sanctuary for Billy, where he discovers his talent and passion. The contrast between the closed-mindedness of the mining community and the opportunities presented by education and the arts underscores the theme of transformation.

Despite the social changes and conflicts, the film also portrays moments of unity and solidarity within the community. The miners and their families come together to support one another during the strike, demonstrating the resilience and strength of working-class communities in the face of adversity.

“Billy Elliot” captures the broader cultural shifts taking place in 1980s Britain, where the rigid structures of traditionalism were gradually giving way to a more diverse and open society. The emergence of new opportunities and the breaking down of old barriers, as symbolised by Billy’s journey, reflect the changing cultural landscape.

In conclusion, “Billy Elliot” delves deeply into the theme of social change and transformation by exploring how economic shifts, changing gender norms, generational differences, education, and unity within a community can lead to personal growth and a broader societal evolution. The film’s narrative serves as a powerful testament to the potential for transformation even in the face of entrenched traditions and societal challenges.

Friendship and Acceptance

The theme of friendship and acceptance is a central and heartwarming element in the film “Billy Elliot.” This theme is beautifully portrayed through the characters of Billy and Michael, showcasing the power of true friendship and the importance of accepting others for who they are.

At the heart of the film is the deep and genuine friendship between Billy Elliot and his best friend, Michael. Their friendship is established early in the story and serves as a source of emotional support and understanding for both boys. Despite their differences, including Billy’s pursuit of ballet and Michael’s secret desire to dress in women’s clothing, they accept each other unconditionally.

Through Billy and Michael’s friendship, the film highlights the importance of accepting differences and embracing individuality. In a conservative mining community where conformity is valued, both boys face societal expectations that conflict with their true selves. Billy’s acceptance of Michael’s secret and Michael’s unwavering support for Billy’s passion demonstrate that genuine friendship transcends societal norms and prejudices.

Billy and Michael provide emotional support to each other during challenging times. Michael becomes a confidant for Billy, offering a safe space for him to express his feelings and fears. In return, Billy’s acceptance of Michael’s secret offers a sense of belonging and understanding that Michael might not find elsewhere.

Both characters experience personal growth and self-discovery through their friendship. Billy’s acceptance of Michael’s identity helps him become more open-minded and compassionate, while Michael’s unwavering support encourages Billy to pursue his passion for ballet. Their friendship catalyses positive change in each of them.

Billy and Michael’s friendship challenges traditional stereotypes and gender norms. By supporting each other’s unconventional interests, they demonstrate that it’s possible to break free from societal expectations and be true to oneself.

The film illustrates how friendship and acceptance can help individuals endure adversity. As Billy faces resistance from his family and community for his ballet aspirations, his friendship with Michael provides him with emotional strength and the courage to persevere.

Billy and Michael’s friendship also has a positive impact on those around them. Through their bond, they inspire others to reevaluate their biases and prejudices. For example, Mrs. Wilkinson, Billy’s dance teacher, becomes more understanding and accepting of Michael’s identity as a result of her interactions with the boys.

In conclusion, the theme of friendship and acceptance in “Billy Elliot” is a powerful and emotionally resonant aspect of the film. It portrays the transformative power of genuine friendship, the importance of accepting others for who they are, and the ability of such friendships to foster personal growth, resilience, and positive change in the face of societal norms and adversity. Billy and Michael’s friendship serves as a poignant reminder of the enduring value of compassion and acceptance in a world that often pressures individuals to conform.

Here are some key quotes from the film “Billy Elliot” along with their associated themes and analysis:

• Theme: Pursuing One’s Passion and Dreams
• Analysis: This quote, spoken by Billy, underscores the theme of pursuing one’s passion and dreams. It reflects his determination to follow his heart and pursue ballet despite the resistance and expectations placed upon him by his family and community.
• Theme: Gender Norms and Expectations
• Analysis: This quote highlights the theme of challenging gender norms and expectations. Billy’s father’s initial reaction reflects the traditional expectations placed on boys in the mining community, and it sets up the central conflict of the film.
• Theme: Friendship and Acceptance
• Analysis: This quote, said by Michael to Billy, embodies the theme of friendship and acceptance. Michael’s acceptance of Billy’s passion for dance, along with the term “ya dancer,” signifies his support and encouragement for his friend’s pursuit of ballet.
• Theme: Challenging Stereotypes
• Analysis: This quote reflects the theme of challenging stereotypes and societal norms. It highlights the narrow expectations placed on boys and contrasts them with Billy’s unconventional choice of pursuing ballet.
• Theme: Artistic Expression and Creativity
• Analysis: This quote, spoken by Mrs. Wilkinson, captures the theme of artistic expression and creativity. It describes the profound emotional and physical connection that comes with dancing, highlighting the transformative power of art.
• Theme: Socio-Economic Struggles
• Analysis: This quote reflects the theme of socio-economic struggles, particularly in the context of the miners’ strike. It underscores the sense of neglect and injustice felt by the working-class community, which adds depth to the characters’ motivations and conflicts.
• Theme: Resilience and Determination
• Analysis: This quote showcases Billy’s resilience and determination. It emphasises his unwavering commitment to his passion for ballet, even in the face of adversity and challenges.

These quotes from “Billy Elliot” capture the essence of the film’s themes, including the pursuit of dreams, the defiance of gender norms, the power of friendship and acceptance, the challenge to stereotypes, the transformative nature of artistic expression, and the resilience of individuals in the midst of socio-economic struggles.

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Gender Stereotypes in Movie “Billy Elliot”

To me, gender means nothing mental. Any female could do the same thing as a male; for example, being the breadwinner of the family, playing physical sport and independent, however, this is applied to the man too. He could do the same things women do: for example, cooking, dancing and taking care of the kids and the household.

Gender stereotypes are things the society believes that each gender does or is expected to do. These stereotypes are normally past on by the elders of society and our families.

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These stereotypes have influenced our daily lives and the way we view situations. However, these gender stereotypes were broken in the movie Billy Elliot in this movie it shows a boy that attends ballet classes instead of the typical activities that boys are expected do such as going to the gym and taking boxing classes.

However, when he breaks these gender stereotypes he is faced with many problems one of which include the society not approving his decisions.

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This writer never make an mistake for me always deliver long before due date. Am telling you man this writer is absolutely the best.

This becomes a major problem later when he is trying to achieve his dream of becoming a ballet dancer. However, in the end, he accomplishes his dream and proves the society wrong. After viewing this movie, I learnt that gender doesn t define the person you are. Also that any gender can do anything and everything and that these stereotypes don t mean anything.

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