‘Billy Elliot’ musical a glorious leap of faith at Aurora’s Paramount Theatre

A mesmerizing production and wildly enthusiastic audiences – these are the phrases becoming synonymous with Aurora’s Paramount Theatre productions. This time, it’s the show “Billy Elliot: The Musical.”

Director Trent Stork has put his mark on another stunner, also serving as casting director. “Billy Elliot” marks his 24th production as a member of the Paramount directing team. The collaboration between always glorious conductor and Music Director Kory Danielson and a live, 11-piece orchestra, along with the brilliant choreography of Isaiah Silvia-Chandley and the cavernous industrial scenic design of Michelle Lilly (you can hear the clicks and clanks while you view the oppressive mine shaft) help make “Billy Elliot” a bona fide hit.

Set during the 1984–85 miners strike, “Billy Elliot” relates the story of an 11-year-old Durham, England, working-class boy. When asked to return building keys to a ballet class teacher by his boxing coach, Billy discovers a new passion – love of dancing, specifically ballet. But he has to hide that passion from his widowed coal miner father and brother. (“That’s for puffs.”) With help from the ballet teacher, Mrs. Wilkinson, Billy is encouraged to do what he loves, not what others want.

“Billy Elliot” was originally a 2000 film directed by Stephen Daldry, with screenplay by Lee Hall. It was first produced in London’s West End in 2005, and premiered on Broadway in 2008, winning 10 Tonys. The musical’s book and lyrics are by Hall, with music by a pop star legend, Sir Elton John.

There is a cast of 45 – all outstanding, all tremendous performers (whether it’s the youth ensemble or adult ensemble) in their multiple roles ranging from scabs crossing picket lines to police, pit officials and miners. The recurrent theme “Solidarity” is memorable because of this ensemble’s prowess, and is somewhat reminiscent of “Do You Hear the People Sing?” in “Les Miserables.”

Mrs. Wilkinson’s classroom has ballerinas growing up in a world of angry adults, the dancers the “cutes” centered between the angry miners and police. Sixteen young girls alternate the roles of the student dancers.

Neo Del Corral was Billy Elliot on opening night, a role he alternates with Sam Duncan. Del Corral is an amazingly energetic athlete, amiable actor and just a triple threat; he can sing, he can act and, boy, can he ever dance. Del Corral is electrifying in this ambitious role. His chemistry abounds with everyone on that stage.

Michelle Aravena as the chain-smoking Mrs. Wilkinson is every bit the tough cookie I’d like in my corner. She is boundless in her dancing, and provides many beautiful and exhilarating moments.

Spencer Milford is Billy’s older brother; he wants the best for his brother, but doesn’t understand his passion. Milford is a vivid actor, a fighter with strong opinions. He showcases the theme of social duty within the community versus individuality.

Ron E. Rains portrays Billy’s dad. He may not understand much about Billy except the knowledge that he has to support Billy whom he does love. He also illustrates a deep grief over the loss of Billy’s mother. He’ll move you with his songs “Deep into the Ground” and “He Could Be a Star.” Rains delivers a credible transition.

Gabriel Lafazan provides much of the comedic relief. As Billy’s best friend Michael, Lafazan is a scene-stealer. His tap dancing with Del Corral brings vaudeville to mind, and deserves the cheers and applause it gets.

There are standouts in the ensemble, primarily because the musical gives them a focused scene or song. Perennial Chicago favorite Barbara Robertson is Billy’s grandmother, who shines with her “Grandma’s Song” (“Life ended when you had a ring around your finger, but we’d go dancing”) and her never-ending search for a hand pie.

Jennie Sophia as Mum is a heart toucher; she’s sweet, endearing and tender, especially with the song “The Letter” in Acts One and Two. “I must seem a distant memory … promise me … always be yourself.”

Christopher Kelley is older Billy who performs a magnificent second-act “Swan Lake” pas de deux with Del Corral. The leaps, points and lifts are exceptionally vivid and breathtaking. Kelley also serves as dance captain.

Another favorite is Neil Friedman as Big Davey, the logical leader and calming strike maintainer. He has a physical presence.

“Billy Elliot” is a stellar, emotional musical; everything comes together. It’s not an escapist show. It is a satisfier in its storytelling reality. “Billy Elliot” brilliantly weaves stirring music, fantastic dance and a plot based on true events – guess we can thank Maggie Thatcher for that. The ovation at curtain call is long and deserved; the curtain call itself is highly entertaining. I guarantee “Billy Elliot” will dance into your heart.

• Regina Belt-Daniels has tap danced and discoed her way through a few shows in her theater career, and has appeared onstage and backstage in many productions ranging from actor to director throughout Illinois.

IF YOU GO

• WHAT: “Billy Elliot: The Musical”

• WHERE: Paramount Theatre, 23 E. Galena Blvd., Aurora

• WHEN: Wednesday through Sunday until March 24

• INFORMATION: 630-896-6666, paramountaurora.com