Dementia Friendly Performance Information Pack for Billy Elliot the Musical Thursday 11 August, 2.15pm
Box Office Telephone: 0116 242 3595 Box Office Email: tickets@curvetheatre.co.uk Address: Curve, 60 Rutland Street, Leicester, LE1 1SB
Our Dementia Friendly performance of Billy Elliot the Musical is kindly sponsored by David Wilson Homes. 1
Contents Hello and What is a Dementia Friendly Performance?........................................2 Getting to Curve………..………………………………………………………………………………..3 – 5 Visual Story: Your Visit to Curve…………………………………………………………….…6 – 13 Useful Information……………………………………………………………………..……………14 - 15 Billy Elliot the Musical – The Story………………..…………………………………………16 - 24 Meet the Cast………………………………………………………………………………………….25 – 26 Production Gallery…………………….……………………………………………………………………27
Hello! We are looking forward to welcoming you to Curve for Billy Elliot the Musical This pack is designed to give you more information about the performance and our theatre ahead of your visit.
What is a Dementia Friendly Performance? Dementia Friendly performances are tailored to meet the specific needs of people living with dementia, including:
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Adaptations to the show, including lighting, sound and design Clearer visual markers and signage around the theatre A relaxed attitude to movement and audience responses during the show
Additional staff on hand to support audience members throughout their visit • Provision of quiet spaces before, during and after the show
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Getting to Curve Our address is Curve, 60 Rutland Street, Leicester, LE1 1SB. Here is a map of where Curve is in the Cultural Quarter, and the surrounding area.
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Getting here by Car There are a number of car parks close to Curve, with the multi-storey NCP Rutland Centre Car Park being the closest to our Theatre. Customers are advised that none of the car parks detailed on this page are owned or managed by Curve or Leicester Theatre Trust Ltd.
NCP Rutland Centre Car Park (Multi-storey) 56 Halford Street, Leicester, LE1 1TQ Access Spaces: 7 | Max Height: 1.93m Curve visitors can park in the NCP Rutland Centre adjacent to Curve for £7.95 when validated at Box Office, Green Room Café or Stage Door Bar during your visit. Any customers who have pre-purchased car parking tickets dated on or after this date should have received notice from us and will be credited the original cost for parking. If parking at NCP Rutland Centre between the hours of 5pm and 2am, you can access a cheaper rate of £5.95 if you pay via the NCP ParkPass App, or £6.95 if you pay your parking at the machines located in the NCP on the day. Due to these changes we are no longer able to offer pre-paid tickets for the NCP Rutland Centre, and apologise for any inconvenience this may cause.
Southampton Street Leicester, LE1 1TG Access Spaces: 4 Hourly charges from £1*
Dover Street Leicester, LE1 6PW Access Spaces: 14 | Max Height 1.98m Hourly charges from £1*
NCP Lee Circle Car Park Leicester, LE1 3RE Access Spaces: 4 | Max Height: 1.93m Hourly charges from £1.95*
Haymarket Leicester, LE1 3HP Access Spaces: 5 Hourly charges from £1*
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Newarke Street Leicester, LE1 5SN Access Spaces: 1 Hourly charges from £1*
Highcross John Lewis Car Park Leicester, LE1 4QJ Access Spaces: 109 | Family Spaces: 56 | Max Height, 1.98m Hourly charges from £3.50*, plus flat evening rate of £2.50* between 5pm and 6am
There is also a drop-off point outside our theatre. *Prices subject to change.
Getting here by Bus All Leicestershire bus services have stops within a three to 10-minute walk of Curve, with services terminating on Humberstone Gate, Haymarket Bus Station or St Margaret’s Bus Station. For more information about travelling by bus in the city, visit www.leicester.gov.uk/transport-and-streets/travelling-by-bus, or call Traveline on 0871 200 2233.
Getting here by Train Leicester Train Station is less than a 10-minute walk away via Charles Street. For the latest service information, please visit www.nationalrail.co.uk.
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Visual Story: Your Visit to Curve Curve is a large, round building with a glass front, as shown below. The outside of Curve looks like this:
Halford Street Entrance
Rutland Street Entrance
what3words: ///wide.wiping.dared
what3words: ///driver.other.ideal
Southampton Street Entrance what3words: ///knee.deals.meant
There are three main entrances into the building: Halford Street, by our Green Room Café; Rutland Street, by our Box Office, and Southampton Street in the middle of the two. All entrances have a set of glass double doors. Halford Street
Rutland Street
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The doors open automatically as you walk towards them, and there is level access into the building from all entrances. When you enter the building, you will be in the Foyer. Our Foyer is one big circle which wraps around our two performance spaces – the Theatre and the Studio. As you make your way around the Foyer, you will notice lots of large pictures on the big red walls. This is our production gallery, and features pictures from our previous productions. A number of automatic hand sanitiser points are available around the building. To use these points, simply hold your hand beneath the dispenser. Push dispensers are also available around the building.
Before the show and during the interval, there will be some loud announcements in the Foyer telling you how long it is until the show begins, and other useful information about your visit. These will be at a quieter level at this performance. It may also be noisy in the Foyer as other audience members will be arriving to see the show. Widgit Symbols © Widgit Software 2002-2022, www.widgit.com
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Here is a map of the Ground Floor at Curve.
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In the Foyer inside the Rutland Street doors, you will find our Box Office. This is where you can collect your tickets for the show or buy tickets if you have not already booked. Other audience members will also be collecting their tickets, so there might be a small queue.
Car parking tickets for cars parked in the NCP Rutland Centre Multi-storey Car Park next door to Curve can be validated at the Box Office for £7.95. In the Foyer you will also find our Green Room Café. Here you can buy a drink, snack or ice cream to enjoy before the performance. There may be a small queue at the Café.
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If you need to use the toilet before you take your seats, there are male, female and accessible toilets near the Green Room Café and Box Office. Gender neutral toilets are also available on the Mezzanine floor. A R.A.D.A.R key is available at the Green Room Café, if you don’t have one with you. The toilets look like this:
There is a Changing Places Facility with adult hoist on the Ground Floor next to Theatre Door 4. Please note you will need to bring your own hoist straps to use this facility.
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You will be watching Billy Elliot the Musical in the Theatre. Here is a picture of the seats in the Theatre. This is where you will sit to watch the performance.
Circle
Stalls
Your ticket will tell you if you are sitting in the Stalls (ground floor, enter through Theatre Doors 3 or 4) or in the Circle (Mezzanine floor, enter through Theatre Doors 8 or 9). Your ticket will also mention which door to enter through and where to sit. If you are sat in the Circle, you will need to take the stairs next to Theatre Doors 3 or 4, or the public lift next to Theatre Door 3 to get to the Mezzanine floor (Level M). The staircase next to Theatre Door 3 has 31 steps over three flights (9, 11, 11) and the staircase next to Theatre Door 4 also has 31 steps over three flights (13, 7, 11). There is a landing between each flight of stairs. A member of our Visitor Experience Team can help you find the right door and your seat by looking at the letters and numbers on your ticket. They will be wearing black shirts with a colourful Curve logo.
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When you enter the Theatre, the lights will be on, and it may be noisy as the audience will be excited to see the show. You will need to pull the bottom of your seat down to sit on it. Booster seats are available if you can’t see the stage comfortably, and a member of our Visitor Experience Team can get one for you. They will also be happy to help you with anything else you may need to enjoy the performance.
When the show is about to start, the lights in the Theatre will be dimmed but it will never go completely dark.
Whilst the internal doors to the Theatre will close, the outer doors will remain open throughout the performance so you can leave the space and re-enter when you’re ready, should you need to use the toilet or take a break from the show. If you would like a break from the performance, you can visit our quiet spaces on the Mezzanine floor or in Alcove 3 to the right of our Stage Door Bar. You will need to take the stairs next to Theatre Doors 3 or 4 to access the Mezzanine, and a member of our Visitor Experience Team can help you find it.
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When the show has finished, the cast will come back onto the stage and bow. The audience will clap to show the cast they enjoyed the performance. It can be quite loud during this moment. .
At the end of the show, the lights will get brighter. You can leave the Theatre when you are ready.
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Useful Information Billy Elliot is a musical, so there will be lots of singing and dancing throughout the performance. You can dance along during the show if you would like to!
The running time for Billy Elliot is 2 hours and 25 minutes, including a 20-minute interval. The performance will start at 2.15pm and finish at approximately 4.30pm – 4.35pm.
The age recommendation for Billy Elliot is 12+. The production contains strong language, repetitive flashing lights, pyrotechnics, smoke and haze, and smoking on stage. Some of these effects will be adapted at this performance.
There are also moments of violence throughout the show, where the miners fight with the police, and with one-another. During Act 1, Tony will appear to have a bleeding cut on his head following one of the fights. Our actors have been specially trained in stage fighting to make these moments look real, but no-one is really being hurt. You might find these scenes scary or upsetting. At the end of ♫ Shine, Mrs. Wilkinson will point a toy gun at the Ballet Girls and they will fall to the floor. The gun isn’t real and the girls are just pretending to be injured.
There will be different lighting states throughout the performance, with some moments in brighter lighting and other moments in darker lighting. There will also be some Widgit Symbols © Widgit Software 2002-2022, www.widgit.com
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moments of flashing lights. The lights in the auditorium will remain on at a low-level throughout.
On stage, there are several moving set pieces. These include four yellow metal fences that move around to create different spaces, and a three-storey structure containing Billy’s house and bedroom and the Community Hall toilets. There is also a lift in the middle of the stage which moves up and down to create a boxing ring, stage, and a mineshaft lift. At the start of the show, the miners will emerge from under the stage. They will go back beneath the stage at the end of the show.
During several scenes in the performance, the cast will enter and exit through the audience, shouting at the people on stage. You will hear their voices, but you may not see them depending on where you are sitting in the Theatre.
The music in the show is performed live by an eight-piece band, conducted by our Musical Supervisor and Musical Director George Dyer, and sung by members of the company. The band can be seen in the top right of the stage, on the scaffolding platform. Some of the musical numbers are loud, so you might like to cover your ears or bring a pair of ear defenders to wear during the performance. In Act Two when Billy auditions for The Royal Ballet School, you will hear the four voices of the school’s admissions team overhead. You will not see them during this scene as their voices are pre-recorded. Widgit Symbols © Widgit Software 2002-2022, www.widgit.com
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Billy Elliot The Musical – The Story Spoiler Alert! Over the next few pages is a summary of the story of Billy Elliot The Musical. You might find this helpful to read before you come to the theatre, but if you would like the story to be a surprise, skip to page 25. Billy Elliot is set in and around Easington Colliery, County Durham between March 1984 through to early 1985, against the backdrop of the Miners’ Strike. As you enter the Theatre, a large black wall – called the iron – will be down on the stage. A yellow, British Coal-style sign displayed on the iron reads ‘Billy Elliot The Musical.’ There are several other warning and health and safety signs placed around the stage as part of the set design, to make you feel as though you are at the colliery.
A trumpet plays as the iron rises, revealing a chorus of miners emerging from the mine shaft, the lights on their hard hats illuminating the dark theatre (♫ The Stars Look Down).
As the chorus sings, community members enter to ask if there’s been any news about the miners’ strike, before joining the song. The miners take a seat across two benches in the Community Hall, as Big Davey leads them in song. A child – Kevin – arrives, shouting there’s been an update. George runs in to confirm the miners are going on strike, and they cheer. During their celebration, Scab enters. A “scab” is a miner who wants to cross the picket line and continue working during a strike. The other miners angrily tell him to leave before the song continues. The miners and community members leave, as Billy and his best friend Michael chat to one another about the strike. Filled with hope Billy continues ♫ The Stars Look Down, and the miners and community members return to begin the 16
strike. Miners George and Lesley tell the group to meet the following day to discuss next steps. At the Elliot household, Billy’s Dad, Jackie, is making a cooked breakfast for his family. He calls Billy from his room, as his eldest son Tony reads the newspaper. Billy’s Grandma, Edna, is walking around the kitchen in a confused manner, looking for a pasty she lost earlier. Jackie continues to call Billy in a growing state of frustration, whilst Edna insists she doesn’t want the breakfast. She says the home-cooked food hasn’t been nice since Billy’s Mam passed away, which upsets Jackie who is working hard to provide for his family. Mam is a term used in Northern England for Mum, Mummy or Mother. The miners arrive at the Elliot household as breakfast is served, further frustrating Jackie as they’re “eating him out of house and home”! Lesley joins the group to tell them the police are arriving on the picket line with the scabs. The miners swiftly exit, chanting “Maggie, Maggie Maggie! Out, out, out!”, in protest of Margaret Thatcher, the Prime Minister at the time. Billy joins Grandma at the kitchen table. He has found her pasty, but it’s mouldy. She goes to find a sausage roll she’s left on the landing instead, and Billy shakes his head. Whilst clearing the table and drinking out of the milk bottle, Billy slips out of space and time and speaks to his Dead Mam. She asks if he has all he needs for his boxing class, including his trainers which are in his bedroom. As he returns with his trainers, the vision of her has disappeared and he comes back to reality. In the Community Hall, the young community boys are sparring with one another. George, their trainer and a miner, is spurring them on with a series of sweary commands. Billy is late for class, so – against his wishes – George tells him he’s going to spar with Michael, but he doesn’t want to box either. The pair dance together trying to put one another off before Michael overexcitedly punches Billy. Michael apologises, and George insists Billy should 17
hit him back. Billy doesn’t want to, so George spars with Michael instead. The youngster jokingly punches him in the groin! Annoyed, George tells the pair he’s off down the picket line and asks Billy to give the Hall keys to Mrs. Wilkinson – the ballet teacher who runs dance classes there. The Ballet Girls are assembled at the barre as class begins (♫ Shine). Mrs. Wilkinson calls out different moves and counts as Billy tries to get her attention between commands. During the number, she sends the girls for a costume change. Billy also leaves, but Mrs. Wilkinson tells him he hasn’t done any dancing yet and encourages him to join in. Watching the other girls, he joins for the big finale. The music ends and the class leave, giving their 50p class fee to Mrs. Wilkinson as they exit. Billy doesn’t have 50p as he’s spent it on boxing; Mrs. Wilkinson tells him he can bring it next week when he comes to class again. He’s reluctant, but there’s a sparkle in his eye. As the lights in the Community Hall dim, an inspired Billy gently twirls and leaps in the darkness (Shadow Dance), before finding Grandma looking through his shoebox of personal belongings. Grandma is still looking for her snack and comes across a letter in his box. He explains it’s a letter his Mam wrote for him. Grandma asks where she’s gone, as she’s forgotten that she’s passed away together with her husband - Billy’s Grandad. Billy sighs and hands her a fresh pasty, as he asks for more information about his Grandad. She tells Billy she couldn’t forget him as he wasn’t very nice, before explaining their relationship in more detail in ♫ Grandma’s Song. Back at the Community Hall, the Ballet Girls take their places. Debbie asks Billy if he’s going to join the class again this week. He’s still unsure and tells Debbie she’s no good at it either. She explains she doesn’t have much choice with Mrs. Wilkinson being her Mam, before joining the class. Billy doesn’t have any ballet shoes but Mrs. Wilkinson has bought some for him in her handbag. 18
Outside the Community Hall, things are becoming heated between the police – who are lining the streets – the striking miners, and the community (♫ Solidarity). The class progresses as the strike continues, with the youngsters learning how to pirouette (a type of ballet turn), whilst punches are thrown outside the doors. Amidst the fighting, George asks Jackie if everything is okay with his money as Billy hasn’t been to boxing; Jackie is surprised. Tony gets hit by a police officer, and father and son quickly leave the demonstration. In the ballet class, Mrs. Wilkinson is focused on Billy, neatening up his ballet form - it’s clear Billy is the star pupil. As the choruses overlap, Jackie enters the Community Hall to find Billy being tutored by Mrs. Wilkinson. Despite the pair explaining the merits of ballet, Jackie is disappointed in his son and bans him from attending. Billy storms out. In the Toilets, Billy asks Mrs. Wilkinson why she had to get involved in his family’s affairs. She explains she thinks he’s suitable for The Royal Ballet School, and that auditions are coming up soon. He’s unsure, but she offers him one-toone lessons after school. She asks him to bring some items of meaning to their first session so they can create a special routine for the audition. In Michael’s bedroom, Billy discovers Michael wearing a dress and heeled shoes. Michael suggests Billy should try on some items and searches his wardrobe for appropriate clothes and colours. As he gets into a dress, Billy tells Michael about the ballet classes and audition. Michael isn’t sure Billy should do ballet but encourages him to be himself (♫ Expressing Yourself). The community youngsters emerge from inside the cupboards to join them in song and dance, with some playing instruments as others dance with ribbons. The positivity fades as we see Tony leaving the Elliot household with a crowbar in hand. Jackie is waiting for him in the kitchen and encourages his son to stay out of trouble. Tony goes head-to-head with his Dad, telling him he’s been a waste of space since his Mam died. Jackie punches his son, as Billy appears and 19
yells at them to stop. He runs to his bedroom in a rage, clutching his Mam’s letter to his chest. At the Community Hall, Billy and Mrs. Wilkinson are beginning their one-to-one lesson. He’s brought his shoebox along, and presents a Rubik’s Cube, Star Trek Annual, a tin of baked beans and a packet of soup to his teacher. Mrs. Wilkinson is annoyed he hasn’t brought anything of personal importance, before spotting his Mam’s letter in his hand. She reads it aloud (♫ The Letter) as Billy slips out of space and time to see his Mam also reading her letter to him. The letter ends, and she fades from view once again. Mrs. Wilkinson is moved, her emotions interrupted by the arrival of the class pianist Mr. Braithwaite. Mrs. Wilkinson and Mr. Braithwaite explain the key ingredients of dance to Billy, before launching into ♫ Born to Boogie. The trio dance together, with Mrs. Wilkinson teaching Billy some key moves and positions during the energetic routine. In the Toilets, Debbie asks Billy if he’s nervous for his audition – and if he fancies her. Their cheeky conversation is disrupted by Mrs. Wilkinson, who sends her daughter outside before handing Billy his audition tape and telling him where to meet her for the audition in Newcastle. In the streets, Tony is badly beaten by three police officers resulting in a cut on his head. He returns to the Elliot household, where he’s cleaned up by his Dad and the other miners. Dressed for his audition, Billy enters the kitchen and asks what’s going on. His Dad tells him he isn’t going anywhere as there are police across the village. Billy opens the back door to find a frustrated Mrs. Wilkinson – she’s been waiting for him at the Welfare Club. With his family already fired up he tells her to leave, but she’s determined to get him there. She explains to Jackie and Tony that he’s been having private lessons, and his potential for The Royal Ballet School. 20
Tony does not approve of his little brother “poncing around”, and questions Mrs. Wilkinson’s experience as a teacher. He wants to see Billy dance, placing him on a chair before angrily telling him to dance. Billy refuses, so Tony tells Mrs. Wilkinson to leave him alone. She yells back at Tony and tells Billy he doesn’t have a chance without the backing of his family, as the miners hide from the police. Billy tells his Dad his Mam would have let him dance – he yells back that she’s dead. Upset, Billy jumps off the chair and performs his solo Angry Dance, starting in his bedroom before becoming part of the riot outside. Time for the interval. At the start of Act Two, we join the community at The Easington Miners’ Annual Christmas Show at the Community Hall. The community boys collect money from the audience using buckets and pans, whilst the rest of the villagers mingle in Christmas jumpers and outfits. George, dressed as Santa, takes to the stage to host the event. The whole community – including the children - bursts into a political jig about Margaret Thatcher (♫ Merry Christmas, Maggie Thatcher), with four of the adults donning Margaret Thatcher masks. Two further adults dance around as a pantomime horse. The number ends and George calls Jackie to the stage. The community asks him to sing ‘Big Spender’, but he decides to sing a folk song in tribute to his late wife instead (♫ Deep Into the Ground). The emotional song reduces Jackie to tears, with Billy picking up the final verse. Jackie hands Billy the remains of his beer, before going home with Tony. As the room clears, Billy and Michael discuss the rubbish Christmas they’re having, and whether Billy has been back to ballet. He explains he’s packed it in, and Michael is happy about this as he would miss his friend if he went away. Billy rubs his cold hands together as he gets ready to leave. Michael notices, and takes his hands in his own, placing them under his coat to warm them. Billy 21
blushes as Michael kisses him gently, insisting that just because he does ballet doesn’t mean he’s gay. Breaking out of the embrace, Billy tosses his friend a tutu. Michael wants to learn some ballet moves and taunts Billy whilst dancing along the bench, before slipping onto his bum. Billy tells him he should go home - and that he can keep the tutu. Michael leaves, and an older version of Billy appears with young Billy. Out of space and time the pair dance together, mirroring one another’s movements. Billy’s Mam appears and takes young Billy into an embrace, with Older Billy echoing the cuddle. You might also spot Grandma at the top of the building watching on in this scene. The happiness turns to sorrow at the moment of his Mam’s death, as a trio of miners pull Billy away from his passion and into a life down the pit. Jackie appears at the back of the room and watches his son dance, before bringing Billy back to reality by telling him to go home. Realising Billy’s passion for dance, Jackie visits Mrs. Wilkinson. He asks her if Billy is capable enough to join The Royal Ballet School and how much it would cost. She tells him they’ll never know as he missed the earlier audition but that there’s another coming up in London. She offers to help with the costs, but Jackie doesn’t want her support. Mrs. Wilkinson tells him to put his pride aside and accept the support. At the Colliery, Jackie is joining the scabs to the disappointment of Tony and the striking miners. Through tears, Jackie explains he’s doing it because he wants to give Billy a chance at his dream (♫ He Could Be a Star). The discussion becomes fiery, with punches thrown. Billy runs into the crowd and is accidentally hit in the face, falling to the floor. All attention turns to him, as Big Davey tells the group to stop tearing one another apart. The community donate their loose change to Billy to help him get to the audition. 22
In the Hall, Billy counts the change – he has nineteen pounds, seventeen and a half pence and twelve pesos. It isn’t enough, and though Billy remains positive Tony is realistic. Scab enters the Hall with an envelope filled with cash. Tony doesn’t want to take the ‘dirty money’ but as Billy protests he agrees he can use it. Billy and his Dad arrive at the London audition. A representative for The Royal Ballet School signs them in and takes Billy into the audition room. Jackie waits outside, first approached by a Posh Dad and then an experienced Royal Ballet Dancer, leaving him feeling out of his depth. In the audition room, Billy and three other dancers are completing an exercise. The audition wraps up, and Billy is disappointed he didn’t get to show his prepared dance. A Posh Boy tries to comfort him, but Billy is frustrated and punches him as the representative and Jackie enter the room. The audition panellists are disappointed by his actions and make it clear they aren’t acceptable, before asking their final audition questions. They ask Billy how it feels when he’s dancing, and he explains throughout his solo, ♫ Electricity.
Back home at the Soup Kitchen, everyone asks Billy if he has heard anything after his audition. The next day, a letter arrives addressed to Billy. Jackie, Tony and Grandma want to open it, but Tony insists Billy should be the one to do it. He arrives home, takes the letter upstairs and opens it, before returning to the dining room table. He tells his family he didn’t get into The Royal Ballet School, and places his head in his crossed arms on the table and cries. Tony opens the letter and realises Billy is lying - he did get in after all! The trio dance round the room. Their happiness is disrupted by George and the miners, who tell the Elliots they’ve lost the strike. Billy remains positive but they know the reality isn’t so bright. 23
At the Community Hall, the Ballet Girls surround Billy in awe. As the girls leave, Billy says goodbye to Mrs. Wilkinson. He tells her he’ll miss her and that he’ll come and see her each time he’s back in the area; she knows that won’t be the case and tells him to focus on his own achievements. She’s trying to hold it together but has tears in her eyes as Billy gets on his way. Jackie and Tony ready Billy to leave for The Royal Ballet School, as the miners assemble ready to go back down the mineshaft (♫ Once We Were Kings). Out of space and time, Billy’s Mam appears to say goodbye to her son. He’s written a reply to her letter, which they read together before she leaves. Michael also says farewell to his friend, and the pair cuddle as Billy kisses him tenderly. The show draws to a close and the audience cheer and clap as the company take their bows. For the ♫ Finale, they invite the audience to dance with them, “letting everything flow naturally!” before the band close finish the show with ♫ Playout.
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Meet the Cast
Willow Adamson Ballet Girl
Craig Armstrong George
Steph Asamoah Community Member & Police Officer
Maddie Seren Ashley Ballet Dancer
William Atkinson Older Billy, Miner & Police Officer
Oliver Back Boxing Boy
Aneeka Kaur Bains Ballet Girl
Luke Baker Tony
Pearl Ball Debbie
Ella-Rose Blackburn Price Ballet Girl
Joe Caffrey Dad
Harvey Clarridge Boxing Boy
Micky Cochrane Scab
Caitlin Cole Debbie
Ellie Copping Debbie
Lily Corkill Ballet Girl
Jessica Daley Billy’s Mam
Miley Dalton Ballet Girl
Matisse Didier Boxing Boy
Bobby Donald Michael
Jonathan Dryden Taylor Posh Dad, Miner & Police Officer
Isabelle Francis Ballet Girl
Ethan Galeotti Boxing Boy
Rahul Gandabhai Boxing Boy
Isla Granville Ballet Girl
Uzziah Gray Boxing Boy
Lucas Haywood Michael
Leo Hollingsworth Billy
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Orlaith Rae Hunt Ballet Girl
Rachel Izen Grandma
Ava Rose Johnson Ballet Girl
Cameron Johnson Mr. Braithwaite
Lola Johnstone Debbie
Ava Mia Komisarczuk Ballet Girl
Kyrelle Lammy Boxing Boy
Lienna-Jean Langdon Ballet Girl
Michael Lin Pit Supervisor, Police Officer & Fight Captain
Tahlia Maddox Ballet Girl
Prem Masani Michael
Tori McDougall Clipboard Woman, Community Member & Dance Captain
Nesisa Mhindu Ballet Girl
Lorcan Murphy Boxing Boy
Alfie Napolitano Billy
Samuel Newby Billy
Robin Paley Yorke Lesley
Minal Patel Big Davey & Police Officer
Sophia Pirie Ballet Girl
Hayden Polanco Boxing Boy
Anna Rossa Community Member & Police Officer
Jaden ShentallLee Billy
Ethan Shimwell Michael
Sally Ann Triplett Mrs. Wilkinson
Gopal Thacker Boxing Boy
Mirabelle Varakantam Ballet Girl
Louie Wood Royal Ballet Dancer, Miner & Police Officer
Christopher Wright Mr. Wilkinson, Miner & Police Officer
There are 56 cast members in this production, with the younger members of our company performing on alternate days. To find out who is playing Billy, Michael, Debbie, the Boxing Boys and Ballet Girls at your performance, please see the digital screens around the building. 26
Production Gallery
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We hope you find this information pack helpful ahead of your visit to Curve. If you have any comments on this information pack, please email us on access@curvetheatre.co.uk. For more information about Accessibility at Curve, please visit www.curveonline.co.uk, or call our Box Office on 0116 242 3595. We look forward to welcoming you! This information pack was written by Nicola Allen, Audiences and Access Officer at Curve. Production Photography: Marc Brenner
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