"The original three Billys of BILLY ELLIOT have been nominated as a group for the Best Actor in a Musical Tony Award. Having seen them all I offer this guide to the Billys. However, there are two other Billys as well. What? Five Billys? Yes, it’s true, read on.

Of the first three, the most moving performance for me was from Trent Kawolik, who is the shy, hurt Billy. His overall acting has more nuances and his large sad eyes project a natural vulnerability. His voice has a bit of roughness to it that serves to both make him tough when he needs to be and on the verge of tears when the moment calls for it. He is the most advanced tap dancer of the Billys and his “Angry Dance” is explosive in a way that the others don’t quite achieve. He also looks like he belongs to his family, matching his older brother’s dark curly hair and fitting in to “Older Billy’s” looks as well. And although his dance in “Electricity” does not have as difficult the ballet flourishes that the other two boys take on, his dance is still exciting and has a kind of raw energy to it that is explosive. He receives applause at three points during the dance and quite often, a standing ovation at the end of the dance. Part of it must be because he seems so withdrawn through the early part of the show, that to see him truly break free and embody the lyric, “and I’m free, I’m free,” so literally, his performance becomes a bigger triumph.

Kiril Kulish is the confident Billy. He is more defiant and even more jolly in attitude. His sad moments, such as hugging the “Dead Mum” during the “Letter” song, come suddenly, as if his confidence is all a ruse to hide a frightened boy underneath. This is an equally effective take on the character. However, most of his line readings are straight forward and do not have the colors and textures of Kawolik’s performance, nor does he master the same comic timing. His ballet, on the other hand, is superb. He has extra balletic flourishes in the same dances that not even the original London Billy, Liam Mower, was asked to achieve. It is wonderful that each Billy’s choreography is altered to show off his greatest skills. Still, if Kulish’s dancing is more technically amazing, Kowalik’s is more emotionally charged and this being a drama, the emotion wins over the technical.

David Alverez is a fine dancer and has a big career ahead of him with the American Ballet Theatre where he has received his training. Alverez is the defiant Billy, insisting on his place in the world with gusto. Because no one is going to stand in his way, his “Electricity” dance, though powerful, does not emerge as an unexpected demonstration of his talents. We already know he has it in him. At the end of the number, he takes a step forward as if to say, “You see, I can do anything, I am worthy for I have proved it to you.” His ability is no less amazing than the other boys, but the character has less vulnerability. Because he is Cuban, he does not look like he was born of the Elliot family, but then the production in London has prided itself in its multiethnic Billys. It is not important to the creators that Billy look like his father and brother, but only that he can emerge as an unbelievable talent. As a dancer, Alverez is certainly amazing and he believes in what he says.

As singers, none of the boys are great, but each boy is invested in the part one hundred percent. Each has his own special moments that are stunning. Each can stop the show. The phenomenon is all a combination of a very appealing character, a well told story and a unique individual talent who wants nothing more than to show you his special gifts. But if I have to pick a favorite of the three first Broadway Billys, my vote goes to Trent Kowalik.

It is interesting to go back to the film and see Jamie Bell’s performance after seeing a stage Billy. Bell is far more realistic in the part, for he looks like he is learning the ballet skill for the first time. Even at his most impressive, and I remember being amazed during my first viewing at the movies, he is realistically sloppy in the way a boy new to dance would be. He can do it, but he hasn’t had the time to refine his movements. Bell had a relatively short training period to prepare for shooting the film, whereas the Broadway Billy’s have all come in with a dance background, though they each had to learn things they hadn’t known how to do previously. The stage Billys come to be able to dance all too miraculously. But then, stage musicals are fantasies, even when they are about real and true things. Movies, even when they are fantasies in their way, have a much greater sense of reality and so Jamie Bell is perfect.

Now about those other two Broadway Billys: Tommy Batchelor, who had started in the show as “Tall Boy” and has always been listed as the Billy understudy, was put into the permanent rotation of Billys to allow for vacations. This was done in London as well. At some point in the very recent past, Tommy Batchelor injured himself and so a London Billy was flown in to replace him. Turns out that this boy is actually Tanner Pflueger of Nebraska. He had auditioned for the Broadway production, but was sent out to London and has been playing it there since September. I lucked into a free ticket and caught the Nebraska Billy. Strangely, however, Tommy Batchelor was back in the show as “Tall Boy,” being welcomed to the production as if he were a new cast member by way of a notice stuffed in the program. “Tall Boy” doesn’t dance, so maybe he can handle the limited duty, but can’t handle the extensive dancing. Tanner Pflueger as Billy is the most Jamie Bell-like of them all. He is an excellent actor and a much better singer than any of the others. His dancing is as terrific as the others and the usual show stopping moments, “Solidarity”, “Angry Dance”, “Dream Ballet” and “Electricity” all received the usual overwhelming response from the crowd. Who knows why he wasn’t picked as one of the original three, but he is very much worthy of the role––he is astounding.

Also seen were a number of understudies who were all quite wonderful. Leah Hocking, who usually plays “Mum,” was in for an ailing Haydn Gwynne as Mrs. Wilkinson. Hocking is just as exciting in the role, even if she isn’t physically as unique and interesting as the long and lanky Gwynne. Michael was played by the understudy, not in the regular rotation, by Keean Johnson. He had his own original take on the character and sold his big number, “Expressing Yourself,” as well as the regulars. Tony was played by understudy Jeff Kready, who happened to look quite like his little brother Billy, and was just as effective in the role as Santino Fontana. So the long and short of it all is that you don’t have to fret when you see four inserts in your program announcing replacements––they’re all really great and the show will hold up as the same big thrill it is with the original cast members."

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