Tag: Cinema City

Billy Elliot, Live from London

Billy Elliot1September was a bit of a cultural marathon ending in a theatrical flourish. Liam surprised me with an early birthday present, a broadcast of the musical Billy Elliot streamed live from London. Set in a small mining community in the northeast of England during the 1984/85 miner’s strike*, Billy Elliot is the tale of a young boy’s unusual ambition to become a ballet dancer set against the backdrop of a divided community on the edge of defeat and the inverted snobbery of his family.  Obviously, his nearest and dearest get behind him in the end and Billy goes on to play the lead in Matthew Bourne’s Swan Lake. What we didn’t know when we took our front row seats at Cinema City was that the show was also going to be beamed to 554 cinemas in Britain and Ireland and to others around the world – simultaneously across Europe and with time delays to Asia, Australia and North America.

The performance began with a tribute from Elton John (who composed the score), a back stage tour from one of the current quartet of Billys (and our Billy for the day), the incredibly gifted Elliott Hanna, and an introduction by Stephen Daldry, the director of the musical and of the 2000 film on which the stage show is based. The gloriously uplifting finale was a specially choreographed foot-tapping mashup by 25 Billys from past and present. The raw energy and mesmerising talent made me feel distinctively average.

I have to confess that I’m a bit of a Billy Elliot disciple. I blubbed all the way through the film, cried buckets during the stage show (which I saw in 2008) and wept uncontrollably into my large glass of Pinot Grigio through the broadcast. I wasn’t the only one failing to get a grip. The broadcast became the first live event to go to Number 1 at the UK Box Office. It was seeing those hunky miners in tutus that did it.

I leave you with Grandma’s Song (different Billy, same grandma). If you don’t like a little bit of swearing, you’d best change channels now.

*This was the second strike-themed show of our September culture-fest, the first being the fabulous film Pride which we saw at the beginning of the month.

Pits and Perverts

Thirty years ago, the National Union of Miners (NUM) was in a desperate battle with the Thatcher Government to save their livelihoods and their communities. It was a war of attrition that went on for twelve long months. It was also during the dark days of the gay ‘plague’ with John Hurt scaring the life out of OAPs with crashing tombstones every night on national TV and a certain fire and brimstone chief constable saying that gay people were ‘swirling in a human cesspit of their own making.’ Believe me, it was no fun on the picket line or the dance floor. The Police had a habit of raiding both. At the time, I was living with a quantity surveyor who was neither ‘out’ at work or to his family. What sexuality has to do with counting bricks I shall never know but that was the way back then – most closets were firmly locked from the inside. Society had a habit of making hypocrites of us all. I was his guilty secret (needless to say, he wasn’t mine).

So what do striking miners have in common with dancing queens? Not very much you might think. I didn’t think so either until I saw Pride, a new BBC Film by Marcus Warchus, the new Creative Director at the Old Vic. On general release today, this funny and illuminating movie is based on the true story of a small group of London activists who raised money to help the families of the strikers. They called themselves ‘Lesbians and Gays Support the Miners’ and they did exactly what it said on the collecting tin. Officially, the über-straight, blue collar, backs-to-the-wall-lads NUM weren’t too keen on accepting the support of a gaggle of dirty pervs, even during the worst of times. So the brave pervs took their cause direct to the coal face by sprinkling a little fairy dust (and quite a lot of cash) on a small Welsh mining village. Cue the considerable talents of some seasoned pros (Imelda Staunton, Bill Nighy) who know how to deliver a line or two and some gifted fresh faces to inject a dash of youthful angst and exuberance. The clash of cultures is pure magic. Moving without being sugary, political without being preachy, candid without being gratuitous and clever without being patronising, the film is a joy to watch and one of the best British films I’ve ever seen. Really, it’s that good.

A Date with Anna Karenina

Norwich’s rich cultural repertoire has Liam drooling like a rabid dog. He’s joined the club at the Theatre Royal and has planned an entire programme of cultural festivities to drag me along to. I daren’t admit that I’d rather catch Coronation Street as the cold nights approach. Our latest date was with Anna Karenina at Cinema City. The mini-multiplex is housed in the Suckling’s House and Stuart Hall, a Grade I listed complex spanning a 14th Century merchant’s house and an early twentieth century public hall. Much of the ground floor is occupied by a trendy bar with an ancient vaulted oak ceiling and a fancy restaurant extending into a medieval courtyard. It feels like a swanky café with a cinema attached rather than the other way round. We took our deep, comfy seats and witnessed a parade of boozy bacchanalian folk file past with bottles of white rattling away in their ice buckets. Anna was a lavish hostess – exquisitely staged, sumptuously filmed, superbly acted and evocatively scored. Loyalty, betrayal and suffocating social convention were magically set against the sweeping steppe. Keira Knightley’s impossibly long bedecked neck stole the show. Liam was mesmerised. I was strangely unmoved. As the end credits rolled, the audience tottered out. Many were clearly pie-eyed and not in control of their faculties. Who says the middle classes don’t have a drink problem?

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