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without the prior written permission of Billy Broadway LLC.
Copyright 2008, Camp Broadway. LLC, All rights reserved.
This publication is based on Billy Elliot the Musical with book and lyrics by Lee Hall and music
by Elton John. The content of Billy Elliot the Musical edition of StageNOTES: A Field Guide
for Teachers is fully protected under the copyright laws of the United States of America and
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Table of Contents
Using the Field Guide and Lessons....................4
Synopsis............................................................5
HISTORY.......................................................9
History Discussion Lesson............................... 11
History Writing Lesson................................... 11
History Experiential Lesson............................ 12
History After Hours Lesson............................. 12
LANGUAGE ARTS.................................... 13
Language Arts Discussion Lesson..................... 15
Language Arts Writing Lesson......................... 15
Language Arts Experiential Lesson.................. 15
Language Arts To Go Lesson........................... 15
BEHAVIORAL STUDIES.......................... 16
Behavioral Studies Discussion Lesson.............. 17
Behavioral Studies Writing Lesson................... 17
Behavioral Studies Experiential Lesson............ 17
Behavioral Studies To Go Lesson..................... 17
LIFE SKILLS............................................... 18
Life Skills Discussion Lesson........................... 19
Life Skills Writing Lesson................................ 19
Life Skills Experiential Lesson......................... 20
Life Skills To Go Lesson.................................. 20
THE ARTS................................................... 21
The Arts Discussion Lesson............................. 23
The Arts Writing Lesson................................. 23
The Arts Experiential Lesson.......................... 23
Billy Elliot the Musical Resources...................... 24
4 |
Lisa Poelle
CEO, Camp Broadway
Billy Elliot the Musical has been described as a modern-day fairy tale. It is the heartwarming story of a young boy whose life is changed forever when he discovers an
unexpected passion for dance.
The story is set against the turbulent background of the 1984-1985 miners strike in the
small mining town of Easington in the North East of England. Billy is naturally expected
to become a miner like his brother Tony, his father Jackie and his fathers father before him.
Synopsis
In Billy Elliot, despite the ravages for the strike, the family
scrapes together 50 pence (approximately $0.79) each week for Billy to go to boxing
lessons. After boxing one day, when Billy is left to pass the hall keys to the resident dance
teacher, the exuberant Mrs. Wilkinson, he finds himself suddenly part of the dance class,
connecting with the power of the music which, quite literally, moves him in a way that he
would never previously have thought possible.
Billy secretly begins to go to ballet classes, unable to tell his family who would never
understand. Boys do boxing not ballet, after all. The only person who Billy does confide in
is his friend Michael, who is happy to listen in between dressing up in his sisters dresses, a
pastime he can explain away very simply: Me dad does it all the time.
Sparks fly when Billys dad, Jackie Elliot, discovers that his son has been frittering away
his hard earned money on ballet instead of boxing. Nevertheless, Billy takes up Mrs.
Wilkinsons secret offer of free private classes in preparation for an audition for the Royal
Ballet School.
In the pit communities, solidarity is the watchword and Tony and the strikers agree to pool
together what little money they have to help Billy go to London and audition. Money
from a strike breaker (a scab) is unwelcome, but it makes the difference and Billy and
Jackie head to the bright lights of London.
This is the story of a young boy who reaches beyond his place in the world to follow his
hearts desire and fight for his dreams.
The strike, meanwhile, is getting more and more heated. There are pitched battles between
the police and the miners that split friends and spur Tony Elliot, Billys older brother, to
take the law into his own hands, as he raids his fathers toolbox for a weapon to use against
the police. However, when Jackie Elliot unexpectedly stumbles upon Billy expressing his
deepest emotions through dance, he is suddenly struck by how talented his son is, and
heads off to see Mrs. Wilkinson to find out more about the audition.Going back to work
to earn travel money for the trip to London... It may mean breaking the strike, but Jackie
is determined.
| 5
Brief Background
In 1984, the British National Union of Mineworkers (the NUM) went on strike to save the coal
industry from the closures threatened by Prime Minister Margaret Thatcher who was politically
opposed to state-owned industry and determined to crush the unions.
The strike went on for one year. The miners families had to survive on handouts from other
working people who supported their stand. However, by employing riot police to intimidate their
communities, and importing coal from Eastern Europe, the government broke the unions. Over
the subsequent ten years, the Conservative government dismantled the entire industry.
The story of Billy Elliot takes place in the coal mines of the North East of England, where mining
had been the major employer for hundreds of years. In 1984 more than 300,000 men worked in
the mining industry; today there are less than 1,000. More than 98 percent of the coal used for
British energy is now imported from abroad.
-Playbill, Billy Elliot the Musical
Glossary of Terms
Bairn: A child or baby.
The Co-op: A chain of food stores commonly owned by their customers.
Purveyor of pasties
Cush: Excellent, very good.
Gagging for(slang): To have an extreme desire for something.
A Geordie: A person from Newcastle upon Tyne.
Hot seating: A device whereby a character is taken out of their scene
and asked questions by the audience, to illuminate their motivations and
intentions and, perhaps, to explain their actions. The actor must stay in
character throughout this process.
Michael Hesseltine: Thatchers Industry Minister, famous for his long
flowing hair.
Wikipedia
NCB: The National Coal Board. The body which controlled the British
coal industry on behalf of the people.
6 |
Discussion
Objective
Teaching Tips
Life Skills
Discussion
Discussion
To better understand
how to create a satire.
Billy Elliot The Musical has been described as a modern fairy tale. Ask students to explore other
fairy tales that they know, Snow White, The Ugly Duckling, Cinderella, Red Riding Hood, for
instance, but to tell them using the characters from Billy Elliot The Musical. In a Cinderella parody,
for instance, Billy is desperate to go to the Ball (or in this case, to London after his audition), but
his father and Tony, taking on the roles of the ugly sisters, will do anything to stop him. Dancing,
after all, is not for lads. Luckily, Billy has a fairy godmother in the shape of Mrs. Wilkinson, who
helps him to win his ultimate prize. In this version, Cinderellas love for the handsome prince is
represented by Billys passion for his dancing. After brainstorming other fairy tales, have students
share their findings with the rest of the class.
Objective
Teaching Tips
List possible ideas
for satiric fairy tale
adaptations on the
blackboard or smart
board.
Teaching Tips
As students work,
encourage them to
share the pieces aloud
with their group.
Students writing one
act plays should assign
roles and listen to their
dialogue to see if the
piece comes alive.
Experiential
Objective
To create a monologue
describing the thrill
of an imagined
adventure.
Writing
Divide the class into small groups. Have
each group select a classic fairy tale and
write a modern adaptation of it as either
a short story or a one act play. They
should set their stories in their own
neighborhoods, using the vocabulary
that they have grown up with and the
experiences they have had.
Experiential
Discussion
Objective
Writing
Objective
Objective
Discussion
To help students
recognize that some
aspects of their lives
are within their ability
to change and other
areas are beyond their
control.
Objective
Language Arts
Writing
Discussion
Writing
Teaching Tips
Who is responsible for
your behavior? Is there
such a thing as right
and wrong behavior
or is it okay to do
anything one feels like
doing? How do we
determine acceptable
and unacceptable
behavior? What are
Photo credit:the
Peter short
Lueders/Paul
Kolnik
Studio
and
long
term consequences of
different behaviors?
Experiential
decide to go on a series of adventures. Think of an activity you have dreamed of doing, but have Try including a feather from Mrs. Wilkinsons Shine routine or one of Billys boxing gloves
for
Writing
never done. Perhaps it is something you might want to do in the future.
extra interest. Use the modern fairy tale idea of Billy Elliot The Musical to explore other fairy
tales
Objective
Teaching Tips
What Imagine
shapes you
do you
Research some specific information about the activity on the internet.
go on an
see created
by theor a short
adventure which encompasses this dreamed of activity. Write an extended
monologue
juxtaposition of the
story describing the adventure.
Teaching Tips
Encourage writers to
be in the middle of the
adventure when they
begin.
Experiential
Objective
To better understand
the adaptation process
when a work of art is
transferred from one
artistic medium to
another.
Experiential
Billy Elliot The Musical recognizes and embraces the fact that it is occupying a different form to its
filmic cousin. The adaptation of a film to the stage is a complex process. Rarely is it possibleTeaching
simply
to take the script and transpose it.
Tips
Explore this adaptation process. Watch the final section of Billy Elliot the film, from about 92
personal narrative
minutes in when Billy visits Mrs. Wilkinson to say goodbye. Then, study the stage show script
fromwritten for
essays
the same place and compare the similarities and differences.
college admission.
In the show, for instance, Billy says goodbye to his dead Mother. This does not happen in the film.
| 23
Clearly,
in the stage production, there cannot easily be a bus journey for Billy, and so his goodbye to
Tony, his brother, is much shorter on stage.
Which version is most effective? Why might the Mother not have been included at the end of the
film and the grown up Billy was not included at the end of the stage show?
To Go
Teaching Tips
Students can make
lists of similarities and
differences between
the film and stage
versions of the scene
on the blackboard or
smart board.
Writing
Objective
Examine the right
to strike from the
perspectives of labor
and management.
The Arts
Teaching Tips
Writing
would be harmful to a
company and a nation.
Experiential
Billy struggles for the words to explain his feelings when asked by the panel how he feels when
he is dancing. Finding the right words is often hard, particularly when you are trying to explain
something emotional.
Objective
The
illustrates
Ask students to imagine they are at a college admissions interview.
The exercise
representative has
just asked
them to describe something about which they feel passionately, be it a sport, music, art, acting,
interdependency
science, video games or dancing as it is for Billy. How do you feel when they achieve their best
within
a strongly
group
in their chosen area? What is it about their passion that makes them
feel more
for itwhile
than
anything else in their lives? How would they feel if it was takenworking
away? What drives
them
to
want
towards
a to
improve?
common goal.
Teaching Tips
Teach the exercises
in small, repeatable | 19
increments.
History
Ask students to brainstorm the concept of trade unionism. Why do we need unions? List 10
reasons workers might decide to strike. List 10 reasons the government shouldnt allow workers
who are in vital industries (i.e. coal, oil or gas) to strike.
Writing
Write an essay in the voice of a union president urging his members to strike. Write an essay in
the voice of a government spokesperson telling the media why the workers in a vital industry
should not be permitted to strike.
Experiential
The theme of solidarity in Billy Elliot The Musical is exemplified by the use of unison
movement throughout the show.
Try this unison movement exercise entitled Jump, Jump, Jump. It will require an open
classroom space with desks moved to the perimeters of the room freeing up a large open space
in the center. Divide the class into five or six groups. Each group should consist of at least three
students. Have each group form a straight line facing the front of the room. Each performer
will line up about three feet behind the person in front of him. The exercise will begin with
the first line jumping in place facing front, at the same time, they count to nine loudly. On
the number ten, line one will turn as they jump, clockwise, to face line two. When they have
landed in their place, line two will jump nine times and then turn on the tenth jump just as
line one did. This unison movement will be repeated until the movement gets to the last line.
The last line will jump eight times and turn on the ninth jump. Then, each row will jump eight
times and turn on the ninth jump. When it is line ones turn again, they will jump seven times
and turn on eight. Repeat the process until each row gets to one, and executes just one jump
and a turn.
To Go
Using a list of films provided by your teacher, select one scene and think about how you would
adapt it for the stage. What changes would you make, if any? What differences in form must you use
in order to achieve a successful adaptation? Compare your adaptations with the original film. What
did this process teach you about both mediums?
| 11
| 15
Discussion:
The focus is on facilitating an
in-depth class dialogue.
Objective:
An overall note to the teacher
outlining the goals of the lesson
to follow.
Writing:
The focus is on the expression of
thoughts in written form.
Experiential:
The focus is on understanding
social dynamics as well as
collaboration and teamwork in
small and large groups.
A take-home After Hours
lesson
| 7
The
Guide to
Theatergoing Etiquette
In the early part of the nineteenth century, theatrical performances
usually began at six oclock. An evening would last four or
five hours, beginning with a short curtain raiser, followed by
a five-act play, with other short pieces presented during the
intermissions. It might be compared roughly to todays prime-time
television, a series of shows designed to pass the time. With no
television or radio, the theater was a place to find companionship,
light, and warmth on a cold winters evening.
As the century progressed, the theater audience reflected the
changing social climate. More well-to-do patrons still arrived at
six oclock for the full program of the evening, while half price
admission was offered at eight or eight-thirty to the working
class. This allowed for their longer workday and tighter budgets.
Still, the theaters were always full, allowing people to escape the
drudgery of their daily lives and enjoy themselves.
Because of this popularity, theaters began to be built larger and
larger. New progress in construction allowed balconies to be built
overhanging the seats belowin contrast to the earlier style of
receding tiers. This meant that the audience on the main floor
(the section called the orchestra) were out of the line of sight of
the spectators in the galleries. As a result, the crowds became less
busy peoplewatching and gossiping among themselves, and more
interested in watching the performance. The theater managers
began the practice of dimming the lights in the seating area (called
the house lights), focusing the attention of the audience on the
stage. The advent of gas lighting and the limelight (the earliest
spotlights) made the elaborate settings even more attractive to the
eye, gaining the audiences rapt attention.
By the 1850s, the wealthier audiences were no longer looking
for a full evenings entertainment. Curtain time was pushed back
to eight oclock (for the convenience of patrons arriving from
dinner); only one play would be presented, instead of four or five,
freeing the audience for other social activities afterward. Matinee
(afternoon) performances were not given regularly until the 1870s,
allowing society ladies, who would not have ventured out late at
night, the opportunity to attend the theater.
Now in a new millennium, many of these traditions are still with
us. The theater is still a place to see and be seen; eight oclock
is still the standard curtain time; and the excited chatter of the
audience falls to a hush when the house lights dim and the stage
lights go up, and another night on Broadway begins.
You can make sure everyone you know has the very best
experience at the theater by sharing this Theater Etiquette with
them. And now, enjoy the show!
8 |
History
Clash of Values
Summary of Standards
for HISTORY:
Understanding and analyzing chronological
relationships and patterns:
n
n
n
| 9
The Strike
10 |
communities were split as some felt the only option was to return
to work.
Families and communities were split. Reporters wrote stories
about family members and friends who were, seemingly, becoming
enemies. Conlin Hughes, writing in The Times on June 18,
1984 observed that the contrast defies splits and solidarities
which deepen each day the strike continues, often overriding the
apparent issues of the dispute itself
As the strike progressed, as anger deepened, hardship increased,
violence intensified, rhetoric became tougher and splits widened,
solidarity, once the preserve of the miners, became the metaphoric
battle cry of both sides. The strike eventually ended on March 3,
1985. On the following day, The Daily Mirror commented that
Nobody in elected office, whether president of a union or prime
minister of the country, has a right to fight to a finish when it is
the nations finish. Britain has been put back a year but the scars
will be with us for a generation.
Discussion
Discussion
Objective
Teaching Tips
List three unions you
know about through
family members or
friends. List some
reasons unions are
necessary. List some
criticisms often heard
regarding unions.
Writing
Objective
Examine the right
to strike from the
perspectives of labor
and management.
Teaching Tips
List five reasons
union members might
choose to strike. List
five reasons a strike
would be harmful to a
company and a nation.
Experiential
Objective
Teaching Tips
Teach the exercises
in small, repeatable
increments.
History
Ask students to brainstorm the concept of trade unionism. Why do we need unions? List 10
reasons workers might decide to strike. List 10 reasons the government shouldnt allow workers
who are in vital industries (i.e. coal, oil or gas) to strike.
Writing
Write an essay in the voice of a union president urging his members to strike. Write an essay in
the voice of a government spokesperson telling the media why the workers in a vital industry
should not be permitted to strike.
Experiential
The theme of solidarity in Billy Elliot the Musical is exemplified by the use of unison movement
throughout the show.
Try this unison movement exercise entitled Jump, Jump, Jump. It will require an open
classroom space with desks moved to the perimeters of the room freeing up a large open space
in the center. Divide the class into five or six groups. Each group should consist of at least three
students. Have each group form a straight line facing the front of the room. Each performer
will line up about three feet behind the person in front of him. The exercise will begin with
the first line jumping in place facing front, at the same time, they count to nine loudly. On
the number ten, line one will turn as they jump, clockwise, to face line two. When they have
landed in their place, line two will jump nine times and then turn on the tenth jump just as
line one did. This unison movement will be repeated until the movement gets to the last line.
The last line will jump eight times and turn on the ninth jump. Then, each row will jump eight
times and turn on the ninth jump. When it is line ones turn again, they will jump seven times
and turn on eight. Repeat the process until each row gets to one, and executes just one jump
and a turn.
| 11
History
Repeat the exercise and ask the students to call the numbers out loudly. Then, they should jump in
unison and turn the same way at the same time. This will be a challenge for some groups.
Finally, repeat the exercise without students calling the numbers out loud. They will need to rely on
their listening skills and use their peripheral vision to be successful.
After the exercise, discuss the difficulties of actors performing in unison and why it is very
impressive when we see it on stage as we do in Billy Elliot.
After Hours
Objective
Students will connect
a divisive historical
event to their own
lives.
Teaching Tips
Guide students to
see that how divisive
events are viewed
often depends upon
the history of the
individual experiencing
the event.
12 |
After Hours
Conduct three interviews outside of class, take notes, and bring them in for discussion. Interview
two members of your family from different generations (for example, your aunt and your
grandfather). Ask each of them to describe an event they have lived through that was divisive:
meaning an event that divides people, communities, countries, etc. Great examples of a divisive
event are the civil rights movement, anti-war protests in the 1960s, and the womens suffrage
movement. What did they experience? What did they feel as it was happening? How was or wasnt
it resolved? Be prepared to discuss how their perspectives shaped their accounts of these events.
Language Arts
Its a good bit of painting, mind. Thats what you
call emulsion.
Stephen Daldry talks about his work on Billy Elliot the
Musical.
1. W
hat is different in your approach to film directing
and directing for the stage?
We all got involved very early on. Once the idea was mooted it
was pretty much a collaborative process. Obviously things happen
while youre filming that you think you can do better later on, just
as things happen when filming, through chance and luck, that you
want to keep and develop.
Once of the biggest differences between the film and the stage
show is that on film we didnt have to have young boys who could
sing, dance in many different styles including ballet and act. On
film the amount of time Billy spends dancing is actually relatively
little. On stage Billy has to dance often and brilliantly. This was a
risk we took in so far as, at the time, we didnt know we would
find the boys to do it. We were so lucky to find the boys we did
and continue to find.
2. A
t what point in the production process did you
become involved in the adaptation? Was there
anything that you particularly wanted Lee Hall to
change when the film became a musical? Was there
anything that you were determined should stay the
same?
3. W
hile the stage version of Billy Elliot is still clearly
Billys story, it seems to have a much greater
emphasis on the story of the mining dispute and
the effect on the community than the film. It is also
grittier, particularly in terms of language. How did
this change of emphasis develop?
I think its fair to say that it was a conscious decision to make the
stage show more political than the film and much of an elegy for
the destruction of the Trade Union movement by Thatcher. The
gritty language was inevitable given that we wanted to articulate
the rage of the community at the hands of the forces of Thatchers
disposal. The fact is that people swear; the fact is that children use
bad language. We didnt want to shy away from this.
| 13
n
n
Reading
n
14 |
4. M
uch of the stage show seems to have a very filmic
quality to it (i.e. the scene where Jackie Elliot goes
to see Mrs. Wilkinson, the miners lift descending at
the back of the stage with Billy in the foreground,
and the music used to underscore scenes and
dialogue as well as provide the songs). Do you think
that this quality was inevitable given that you are a
film director, adapting a film, or was it a conscious
decision?
Its very astute of you to pick this particular number because it was
created in a slightly different way than some of the other numbers.
Lee wanted to find a way to reproduce the jump cut sequence
from the film in which you see Billy practicing and practicing
the pirouette until he can do it. At the same time we wanted to
emphasize that Billy was pursuing his dreams while the strike was
developing, that Billy was pursuing his dream despite the strike.
We didnt know just how we would get the two elements to make
sense on stage together. We organized a workshop in which all
three of us, Peter, Lee, and me fought sometimes vociferously
our different corners. The result was a true collaboration and the
number contains the tensions between our different approaches
to telling a story.
6. W
hat discussions did you have surrounding the
issue of strong language in the show? How would
you reassure teachers on this subject when they
are considering bringing students to see Billy Elliot
the Musical?
Language Arts
Experiential
Discussion
Objective
Writing
Objective
Students will come
to better understand
the creative process
of adapting a story for
the stage.
Teaching Tips
What shapes do you
see created by the
juxtaposition of the
chair and the props?
What images pop into
your mind? Can you
translate this into a
dramatic conflict?
Writing
Use props as a stimulus for writing a short story or poem. A single chair placed on a table in the
middle of a classroom will mean different things to different students. Try laying the chair on its side
to provide a suggestion of dramatic image or conflict that students can bring into their stories.
Try including a feather from Mrs. Wilkinsons Shine routine or one of Billys boxing gloves for
extra interest. Use the modern fairy tale idea of Billy Elliot the Musical to explore other fairy tales
and retelling them in a modern context.
Experiential
Billy Elliot the Musical recognizes and embraces the fact that it is occupying a different form to its
filmic cousin. The adaptation of a film to the stage is a complex process. Rarely is it possible simply
to take the script and transpose it.
Experiential
Explore this adaptation process. Watch the final section of Billy Elliot the film, from about 92
minutes in when Billy visits Mrs. Wilkinson to say goodbye. Then, study the stage show script from
the same place and compare the similarities and differences. (See script on page 24 of this guide.)
To better understand
the adaptation process
when a work of art is
transferred from one
artistic medium to
another.
In the show, for instance, Billy says goodbye to his dead Mother. This does not happen in the film.
Clearly, in the stage production, there cannot easily be a bus journey for Billy, and so his goodbye to
Tony, his brother, is much shorter on stage.
Objective
Which version is most effective? Why might the Mother not have been included at the end of the
film and the grown up Billy was not included at the end of the stage show?
To Go
Teaching Tips
Students can make
lists of similarities and
differences between
the film and stage
versions of the scene
on the blackboard or
smart board.
To Go
Using a list of films provided by your teacher, select one scene and think about how you would
adapt it for the stage. What changes would you make, if any? What differences in form must you use
in order to achieve a successful adaptation? Compare your adaptations with the original film. What
did this process teach you about both mediums?
| 15
Behavioral Studies
Start a new fashion, buck
all the trends.
Billy visits Michael, where he is very surprised to discover his friend dressed
up in his sisters clothes. Michael convinces Billy that this is perfectly normal
behavior, and proceeds to dress a reluctant Billy up too, at which point they
burst into an energetic dance routine.
Michaels story is similar to Billys in the sense that have both grown up in a
small mining community where people are expected to behave in a particular
way and there is little opportunity for them to be the individuals they want to
be. In this narrow-minded environment, it is assumed that any boy interested
in ballet must be gay regardless of whether this is the case or not, and no boy
would ever be encouraged to take classes. Homosexuality would certainly be
frowned up, if it were ever discussed, and the community would certainly be
shocked by Michaels dressing up.
It is not until Jackie, Billys father, sees and appreciates the power of Billys
talent that he can begin to even consider offering his support. Eventually
accompanying his son to the Royal Ballet School audition, Jackie steps into a
completely alien world, and although now supportive of his son, he is still wary
when he meets a professional male adult dancer for the first time.
Summary of
Standards for
BEHAVIORAL STUDIES
n
16 |
Behavioral Studies
Discussion
Objective
Students will examine
how peoples opinions
are shaped by the
media.
Teaching Tips
Provide students with
links to websites,
articles, editorials or
op-ed pieces which
present varied points
of view. Look at
the sources for the
information and see
if an obvious slant
a social, political or
moral bias can be
detected.
Experiential
Objective
Teaching Tips
Encourage students
to place themselves in
the context of the play
and honestly answer
as the character
would.
Discussion
The media is regularly responsible for presenting opinions as fact on the position of minority
groups in society. Students, looking at the messages and values that are portrayed by media
organizations, could consider Michaels story from the point of view of the community in
which he lives. Why is it, for instance, that certain sections of society feel so strongly about
particular minority groups?
Internet research, particularly amongst news sites, may provide part of the answer. Clearly,
Michaels story is from the early 1980s and some may argue that attitudes have changed,
but students may wish to investigate whether this is actually the case. Examine some of the
news stories related to the 2008 presidential election. Read some stories related to the issues
of prejudice connected to Barack Obamas candidacy. Look at news stories connected to
Californias Proposition 8. Does the media provide the rational, balanced viewpoint it claims?
Writing
Write and design your own newspaper front page, based on the attitudes that Michael could
have encountered in County Durham after Billy left for London. Would he have encountered
verbal or physical abuse? What position would his father, a working miner, have taken?
Consider, for instance, Jackie Elliots attitude towards Billy dancing and his reaction to the older
dancer at the audition. Consider your story from the point of view of two newspapers with
differing positions. How would the story run in your local paper, for instance, and how would
this differ from a newspaper like The New York Times or The New York Post?
Experiential
Set up a chain in the front of the room to Hot Seat students as Billy. Students who are
empathetic to Michaels situation and feelings will take turns in the hot seat. Other class
members will play people in Michaels family and community. They will question Billy about
his friend Michael in order to better understand him.
Next, Hot Seat students as Michael and allow class members representing Billys family and
community question him about Billys desire to become a ballet dancer.
To Go
Put yourself in the position of a minority group to which you do not belong. How would you
react to the lack of tolerance that may be directed at you, perhaps on a daily basis?
Write five diary entries from this new perspective. In what ways might your life be affected by
other peoples attitudes? To what extent can you live your life without fear or intimidation? Be
sure your entries capture your day-to-day experiences from this new perspective. It is essential
that your entries not emphasize the dramatic but, instead, focus on how intolerance might seep
into your everyday life. Use these entries, and your newfound experiences, to discuss how your
views on intolerance might have changed.
| 17
Life Skills
In the musical, Billys dad makes a difficult personal decision when
he decides to become a strike breaker. He becomes a scab and
returns to work because he needs money for Billys ballet audition
in London. What is perhaps even more difficult is that he must
explain his decision to his other son, Tony.
He sings:
DAD
I CANT TAKE IT ANYMORE SON
IT WAS TEARING ME APART
WERE LOST, WERE FINISHED MAN, WERE THROUGH
I NEED TO GIVE THE KID A FUTURE
I NEED TO LOOK HIM IN THE EYE
BELIEVE ME SON ID DO THE SAME FOR YOU
times these actions do not even involve money, but are personal
sacrifices made out of love.
Make a list of 10 things your parents or guardians have done, or
that parents might do, because they love their children and want
them to have better futures.
Write a letter to one of your parents or guardians thanking them
for a personal sacrifice they have made which is, in some way,
related to your future.
18 |
Self-Regulation
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Life Work
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Discussion
Discussion
To help students
recognize that some
aspects of their lives
are within their ability
to change and other
areas are beyond their
control.
Objective
Teaching Tips
Who is responsible for
your behavior? Is there
such a thing as right
and wrong behavior
or is it okay to do
anything one feels like
doing? How do we
determine acceptable
and unacceptable
behavior? What are
the short and long
term consequences of
different behaviors?
Writing
Objective
Students will practice
translating feelings
into ideas they can
express verbally or in
writing.
Teaching Tips
Give students some
models of creative
personal narrative
essays written for
college admission.
Life Skills
Writing
Billy struggles for the words to explain his feelings when asked by the panel how he feels when
he is dancing. Finding the right words is often hard, particularly when you are trying to explain
something emotional.
Ask students to imagine they are at a college admissions interview. The representative has just asked
them to describe something about which they feel passionately, be it a sport, music, art, acting,
science, video games or dancing as it is for Billy. How do you feel when they achieve their best
in their chosen area? What is it about their passion that makes them feel more strongly for it than
anything else in their lives? How would they feel if it was taken away? What drives them to want to
improve?
| 19
Life Skills
Experiential
Objective
Teaching Tips
Have students
experiment with the
scene using a variety
of vocal qualities
volume, pitch, tone,
rate, etc. Discuss
how this affects the
scene and the way the
audience perceives the
two characters. Extend
this to a discussion
of how a speaker can
effectively use and
control his / her voice
in a spirited debate.
To Go
Objective
Students will learn
more about how
media specialists
manipulate our
perceptions and
emotions.
Teaching Tips
What examples of
political advertising
did you find most
effective? Which
ones were least
effective? Were
the most effective
advertisements
focused on the
positive or the
negative? Contrast
and compare specific
advertisements.
20 |
Experiential
Read the scene between Jackie Elliot and Mrs. Wilkinson with students, highlighting the tensions
and assumptions that are made by both Jackie and Mrs. Wilkinson. (See script on page 26 of this
guide.) There is history between these two characters, their relationship is already an uneasy one
and Jackie must build bridges as best he can. He also requires answers, in an area about which he
has no knowledge or experience. He is out of his depth.
Students should also consider the issue of pride on both sides. Jackie Elliot and Mrs. Wilkinson
live in a proud community and letting down their defenses is not something that either of them
does easily. And yet, both of them have Billys interests in the forefront of their minds and as much
as they would naturally love to show their tempers and shout at each other, they have to keep
this particular instinct in check during this awkward conversation. Play the scene, exploring the
changing dynamics and perhaps manipulating the tensions for dramatic effect and to highlight
specific traits of each character. Playing around with the status of each character will also reveal
fresh insights.
To Go
More and more, the success or otherwise of political parties is determined not by their policies, but
on how effectively they market themselves and control the information that they present to the
public.
This was already true, to an extent, during the miners strike. In fact, the National Coal Boards lack
of an effective media strategy is, according to Margaret Thatcher at least, one of the main reasons
why they were unable to get their message across to the miners and stop it from being highjacked
and misinterpreted by the NUM (Margaret Thatcher, The Downing Street Years).
Billy Elliot the Musical provides us with a prime example of political advertising, with the use of the
Conservative billboard poster Labour isnt workingBritains better off with the Conservatives.
In their study of media messages and values, students can use this poster and other political posters
like it to illustrate negative and positive advertising. The clever play on words, in this case, isnt
saying support us because we have the best policies, which you might expect from a political
party, but rather, support us because the opposition are so awful. Ask students to do internet
research to look at negative print and video advertisements from the recent presidential election.
Consider whether this style of advertising is healthy. Does it work? Is it fair or is it simply a cynical
ploy designed to confuse? What messages and values lie behind this style of advertising?
The Arts
In everything you do, always be yourself.
Trent Kowalik talks about the journey to his role as Billy Elliot.
1. C
an you describe the way in which you landed the
part of Billy Elliot? How did you find out about the
show? What made you audition? Where did you
audition? What did you have to do at the audition?
What happened after you had auditioned?
5. W
hat are the best parts about being in Billy Elliot
the Musical?
The best parts about being in Billy Elliot the Musical are doing
what I love and doing it for a large audience which is usually very
appreciative.
3. T
he story of Billy Elliot the Musical focuses on the
lack of understanding that his community have for
7. W
hat would you like school students to learn from
watching Billy Elliot the Musical?
6. W
hat is the hardest thing that youve had to learn
how to do for the show?
| 21
After Billy Elliot the Musical, I want to continue acting and keep
my singing and dancing skills up. There are no specific parts I
am looking to get; I just want to stay in the industry. I never had
an opinion of the theatre industry before; now Id have to say
most people probably ONLY see the glamorous side of it. It is
glamorous to be on Broadway and get so much media attention
but it also involves a lot of personal sacrifice. The weeks are
long6 days and sometimes publicity engagements on the 7th.
The days are long9 am tutoring and 11 pm leaving the theatre.
9. W
hat do you want to do when you leave the cast
of Billy Elliot the Musical? Are there any other parts
that you are desperate to get? What do you think
about the theatre industry now that you have done
Billy Elliot the Musical? Has your opinion changed? Is
it as glamorous as some people think? In what ways
is it glamorous and in what ways is it not?
Music
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Theater
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22 |
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Visual Arts
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The Arts
Discussion
Discussion
To better understand
how to create a satire.
Billy Elliot the Musical has been described as a modern fairy tale. Ask students to explore other
fairy tales that they know (for example, Snow White, The Ugly Duckling, Cinderella, Little Red Riding
Hood, etc.), and to tell the tales using characters from Billy Elliot the Musical. In a Cinderella parody,
for instance, Billy is desperate to go to the Ball (or in this case, to London for his audition), but
his father and Tony, taking on the roles of the ugly sisters, will do anything to stop him. Dancing,
after all, is not for lads. Luckily, Billy has a fairy godmother in the shape of Mrs. Wilkinson, who
helps him to win his ultimate prize. In this version, Cinderellas love for the handsome prince is
represented by Billys passion for his dancing. After brainstorming other fairy tales, have students
share their findings with the rest of the class.
Objective
Teaching Tips
List possible ideas
for satiric fairy tale
adaptations on the
blackboard or smart
board.
Writing
Teaching Tips
As students work,
encourage them to
share the pieces aloud
with their group.
Students writing one
act plays should assign
roles and listen to their
dialogue to see if the
piece comes alive.
Experiential
Objective
To create a monologue
describing the thrill
of an imagined
adventure.
Writing
Divide the class into small groups. Have
each group select a classic fairy tale and
write a modern adaptation of it as either
a short story or a one act play. They
should set their stories in their own
neighborhoods, using the vocabulary
that they have grown up with and the
experiences they have had.
Objective
Experiential
Recently, there was a movie entitled The Bucket List. In the film, two men with terminal illnesses
decide to go on a series of adventures. Think of an activity you have dreamed of doing, but have
never done. Perhaps it is something you might want to do in the future.
Research some specific information about the activity on the internet. Imagine you go on an
adventure which encompasses this dreamed of activity. Write an extended monologue or a short
story describing the adventure.
Teaching Tips
Encourage writers to
be in the middle of the
adventure when they
begin.
| 23
Hello.
Hello
MrS Wilkinson
BILLY
Mrs WILKSINSON
Can I help you?
BILLY
I just came to tell you - I got in.
Oh
MRS Wilkinson
BILLY
My Dad thought you should know.
MRS Wilkinson
Its alright. They sent uz a letter
when it happened.
BILLY
Miss, I know I should have come before
to tell ya, but you know...
MRS Wilkinson
I can imagine. Toilet break, girls!
Debbie, go on.
BILLY
Well, bye-bye Miss. And Miss, I just
wanted to say thanks, Miss. For
everything - what you did. I could
never have done it without you, Miss.
24 |
MRS Wilkinson
Yeah, well good luck then Billy.
BILLY
Thanks. Well, goodbye.
Goodbye then.
MRS Wilkinson
BILLY
Ill miss you, Miss.
MRS Wilkinson
No you wont, Billy. Youll get
down there and realise what a crap
little dancing school this was. What
a complete second rate training I
gave you. And youll spend five years
unlearning everything I taught you.
Its alright, its the way it is.
BILLY
No, you dont understand, Ill come and
see you every time I come back Miss.
MRS Wilkinson
Heres a piece of advice Billy. Piss off
out of here. Start everything afresh
and dont look back. Theres sod all
left for you here. You are very fucking
special. Now piss off before I start to
cry.
OK
BILLY
MRS Wilkinson
And good luck, Billy.
BILLY
Good luck as well Miss
MRS Wilkinson
Yeah, thanks, Billy.
Mrs Wilkinson exits.
| 25
Mrs Wilkinson
DaD
How much is it gonna cost then.
MRS Wilkinson
And a merry xmas to you too.
DaD
Ive just been doing a lot of thinking
Mrs Wilkinson
It must have come as a shock to the
system.
Mam!
DebbiE
MRS Wilkinson
Piss off Debbie, will ya.
DaD
I know I shouldnt have come.
26 |
MrS WILKSINSON
Not at all. Its Christmas time. Good
will to all men and all that. Look - why
dont you come in.
DAD
No. I just need to know - is he good
enough?
For what?
MRS Wilkinson
Dad
I dont know. For the school. For the
audition.
MRS Wilkinson
Well, well never know, will we. Maybe
hedve gotten in. Maybe hedve joined
the Ballet Rambert. Maybe hed end up on
the scrapheap, like everybody else. How
the hell do I know.
DAD
So theres nowt we can do then?
MRS Wilkinson
Wait! Actually, if we move fast we
could still get him to the auditions in
London.
DAD
So its not too late then?
No.
MRS Wilkinson
DAD
So how much will it cost. This ballet
school lark.
MRS Wilkinson
Maybe five grand a year. Plus living
expenses. Sometimes the local authority/
pay the tuition costs.
DAD
(cutting her off)
Five grand. I was talking about the
audition.
MRS Wilkinson
Its nothing. Its twenty quid or
something.
DAD
Five grand - we havent even got the
money for the bus fare to London.
| 27
MrS Wilkinson
If its just a question of the bus fare.
Mam!
DeBBIE
MRS Wilkinson
Piss off, Debbie, Im busy.
DaD
I dont want your money. I didnt come
here for charity. Hes my son, isnt he?
MRS Wilkinson
For Christs sake when are you going to
get over your pig ignorant working class
pride? Look, your son is gifted, hes
got a chance. What have you got to offer
him? Mining? This town has had it, its
finished. Youre fighting a battle that
was lost years ago. Im not the enemy Mr
Elliot; were all in this together. So
for gods sake just talk to me, let me
help.
DAD
I wanna thank you for everything youve
done for Billy. I really appreciate it.
Is that it.
Yup.
MRS Wilkinson
DAD
MrS Wilkinson
This is ridiculous. Why dont you come
inside...
DaD
No yer right - hes my responsibility.
Mam!
Debbie
MrS WILKSINSON
Sod ya then. See if I care.
MRS WILKINSON
exits back into
the house. Dad
is left alone
onstage.
DAD
Merry bloody Christmas.
28 |
References
Adam Aguirre Camp Broadway Director of Outreach
and Workshop Operations
www.billyelliotthemusical.com
www.billyelliot.com
Margaret Thatcher
Harper Collins
ISBN 0-00-255049-0
Billy Elliot
www.dancebooks.net
General
www.londondance.com
Dance in London
www.dramabookshop.com
www.wikipedia.com online encyclopaedia
Ian MacGregor
William Collins, Sons & Co. Ltd
ISBN 0-00-217706-4
Credits
Written by Mark Palmer
Writers/Contributors
| 29