Billy Elliot The Musical

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Book and Lyrics by LEE HALL Music by ELTON JOHN Originally directed by STEPHEN DALDRY Originally choreographed by PETER DARLING Orchestrations by MARTIN KOCH Executive Producers (original production) Angela Morrison & David Furnish Producers (original production) Tim Bevan, Eric Fellner, Jon Finn & Sally Greene Originally presented in London by Universal Pictures Stage Productions, Working Title Films and Old Vic Productions, in association with Tiger Aspect. Based on Universal Pictures/Studio Canal Film. Licenced exclusively by Music Theatre International (Australasia). Producer: DANIEL STODDART Director: ANNA KERRIGAN Musical Director: DAN WILSON Original Choreography restaged by: LAUREN HARVEY Lighting and Sound Designer: JACOB HARWOOD Costume Designer: AUDREY CURRIE Assistant Director: RYLEE O’ROURKE This production of Billy Elliot The Musical opened at the Civic Theatre in Newcastle on Saturday 7 October 2023. We acknowledge the Awabakal people as the traditional custodians of the land and waters of Newcastle, where we work, live, rehearse and tell our stories. THE VERY POPULAR THEATRE COMPANY PRODUCTION OF 1

City of Newcastle welcomes the worldwide musical phenomenon Billy Elliot the Musical to Newcastle for the first time, and to the magnificent Civic Theatre. This coming-of-age stage musical, with music by Sir Elton John, has been seen by almost 12 million people across five continents and collected more than 80 awards in its lifetime. The show follows Billy’s journey from boxing ring to ballet class, where he discovers a passion for dance that unites his family, inspires his community and changes his life forever. Spectacularly brought to the stage with dazzling choreography, unforgettable songs and incredible costumes, Billy Elliot the Musical is an extraordinary theatrical experience that has captivated audiences around the world. The similarities between the show’s storyline and the transformation of Newcastle, from a coal and steel city to one fully embracing the cultural and artistic endeavours of its community, is truly heartwarming and I’m so pleased we are able to host such a production. Large scale musicals attract guests from near and far to our beautiful city and the Civic Theatre is the perfect historic venue to host this world-class production. This builds on the city’s status as a premier tourism, arts and major events destination, having hosted Sir Elton John himself on his Farewell Yellow Brick Road tour earlier in the year. I would like to congratulate Daniel and Hayley Stoddart and The Very Popular Theatre Company for continuing to mature our local audiences with professional quality, locally produced events and for bringing Billy Elliot the Musical to Newcastle and building the capacity for Newcastle to host major musical events. I wish the cast, crew and orchestra every success for a wonderful season. Enjoy the show! LORD MAYOR COUNCILLOR NUATALI NELMES City of Newcastle A MESSAGE FROM THE LORD MAYOR OF NEWCASTLE 3

Dear friends, Welcome to our beloved Civic Theatre Newcastle, where the spirit of Billy Elliot comes alive in a spectacular new production! As the producer of this groundbreaking musical, it is with immense joy and excitement that I extend my warmest welcome to each and every one of you. Billy Elliot, the acclaimed musical, has captivated hearts and minds around the world since its West End premiere at the Victoria Palace Theatre in 2005. Set against the backdrop of the tumultuous mining community of County Durham in North East England, this show will transport you to a place that seems strikingly familiar. No pun intended! Newcastle, Australia, has a rich history rooted in its working-class heritage, making it a fitting backdrop for the themes portrayed in Billy Elliot the Musical. Like the fictional town of County Durham depicted in the production, Newcastle was a hub of industrial activity, particularly in coal mining and our BHP steelworks. The struggles, dreams and aspirations of the working-class community depicted in the musical parallel those of us who grew up here in Newcastle. The fierce sense of community and resilience among the working-class residents of Newcastle more than mirrors the story of Billy Elliot the Musical. Both the musical and the city celebrate the values of hard work, determination and the pursuit of dreams, despite challenging circumstances. The experiences of the characters resonate with Newcastle, which now, as a city, is faced with the need to adapt to a changing world. This production has been a labour of love, carefully crafted to pay homage to the original story, while infusing it with a fresh, invigorating energy. Our talented cast, featuring both seasoned performers and rising stars, has poured their hearts into every step, every note and every moment on stage. To our incredible cast, crew and creative team, I extend my deepest gratitude for your unwavering dedication and tireless commitment. My sincere thanks is also extended to National College of Dance, who have had a long association with Billy Elliot the Musical here in Australia. Sharing this journey with the team at NCD has marked a special opportunity to partner with another Hunter-based arts organisation who are as equally driven by quality and professionalism as we are. And to you, our esteemed audience, I express my heartfelt appreciation for choosing to be a part of this unforgettable experience. Prepare to be swept away by the breathtaking choreography that will unfold before your eyes. From energetic group numbers that will ignite your spirit, to intimate solos that will leave you breathless, the dance sequences in this production will transport you into a realm where movement becomes a language of its own. As the curtain rises on this premier production, with music composed by the brilliant Elton John, we invite you to embrace the magic that awaits you. Join us as we celebrate the strength of community, the triumph of individuality, and the boundless potential that lies within each and every one of us. Get ready to laugh, to cry, to cheer and to dance. Welcome to Billy Elliot The Musical! With love and excitement, Daniel Stoddart Producer & Artistic Director The Very Popular Theatre Company A MESSAGE FROM THE PRODUCER 5

I’m not a massive fan of musicals. That’s a slightly odd statement from the director of a musical but it’s important to be honest. I am, however, a massive fan of telling good stories, important stories, stories that resonate with an audience and that’s what Billy Elliot is. At the heart of Billy Elliot is the sense of community, and that’s one of the things I love about it. The setting of Newcastle, UK during the miners strike shows a community that is struggling to survive, one that is also fractured, but amongst the desperation and frustration, the story is ultimately one of hope. This hope, found in a masculine society where a young boy discovers their talent and passion for dancing rather than boxing, is particularly relevant today. Working with young people as much as I do, there is still often a stigma attached to young boys participating in creative arts, particularly dance. This story challenges that stigma, it’s important for theatre to do so and that’s another thing I love about it. One of the greatest things, however, about telling this story has been working with such a fabulous production team. It has been an absolute joy to work and collaborate with all of you. In particular, I’d like to thank Dan Wilson and Lauren Harvey, your immense talent and eternal good humour has been so appreciated. The biggest thanks goes out to the gorgeous cast who have worked so hard to get to grips with the intense choreography (and believe me, it has been intense!) and always given so much in rehearsal. Your energy, enthusiasm and dedication has been inspiring and I am incredibly proud of what you have all achieved. Thank you and enjoy the show. Anna Kerrigan Director A MESSAGE FROM THE DIRECTOR 7

“ELECTRICITY SPARKS INSIDE OF ME AND I’M FREE. I’M FREE!” 9

Growing up in the North East of England in the early 1980s was a very mixed experience. My abiding memory of my first year of secondary school in 1979, was the teachers faces the day after Margaret Thatcher was elected Prime Minister. There was a real sense of despondency, which I did not understand. But for the next ten years, the legacy of that day made an indelible stamp on my childhood. On TV, we heard of exotic characters, such as Yuppies who worked in ‘The City’ who did deals on mobile phones, whilst quaffing champagne, but in the North East, it felt like we were somehow under siege. Unemployment was exploding, Thatcher seemed to attack everything that the North East was most proud of: its industrial heritage, its sense of a common purpose, even the robust humour seemed to be under attack from the middle class snobbishness, which she represented. All of the images, which made sense of this seem to hark back 50 years to the 1930s, of two nations divided not only by prosperity, but by a way of looking at the world. Things seem to hit crisis point in 1984, when the Miners’ Strike focused all of these issues. Living in the North East where coal mining had been the lifeblood of the economy and a certain way of life for hundreds of years, this seemed less like an industrial fracas and more akin to a civil war. Quite quickly, the police were donning riot shields and pitch battles were taking place between the shabby pickets, who met the full might of the State. Whichever side you were on, no lives in the North East went untouched by the events of that desperate year. But for me personally, the 1980s were not bleak. I was a young teenager discovering all the things I would pursue for the rest of my life. I discovered poetry in the bowels of Newcastle Central Library, I bought secondhand Elton John LPs, at the Handyside arcade, played in bands, joined the local drama groups and dreamt of living a creative life. Even though I knew this was probably an unattainable dream. Up until that point, I had always assumed I would go to work with my dad, cleaning carpets, and had no idea that I might actually be able to do something different. But with the encouragement of a group of the enlightened teachers who had been so despondent in May 1979, I was encouraged to find another way. As I wanted to be a writer, I decided I needed to go somewhere that writers went and so I set my heart on going to Cambridge. And like the Royal Ballet School for Billy Elliot, it became my idea of salvation. Despite many odds, I proceeded to get in, but when I was there, I realised that Cambridge was not necessarily the answer and that what was most important about being creative, what was richest and most inspiring, I had already discovered in Newcastle. Cambridge was a great experience but I realised everything important about my creative life was formed in my bedroom in Newcastle and so, on leaving University, I set about writing a series of plays which explored this in ways which were more or less autobiographical. Billy Elliott is one of the less autobiographical pieces. I have “two left feet” as they say in Newcastle. But the basic premise of a young boy discovering a new world of creativity, against the background of the harsh realities of the 1980s, was a world I felt very familiar with. I assumed that this subject matter would be of very limited interest. Ballet as I knew “was for poofs”, films about kids growing up in the North of England were something that we’d got bored of after the film Kes in 1970. So, I was amazed when my friend Stephen Daldry, who was a theatre director of some eminence, asked to read the script and then declared he would direct it. I think right from the word go, he saw something that I had not seen, as it was too close to my own concerns. He saw that the story was almost a myth or a fairy tale, that once the dancing and music were committed to film it would become almost like a musical. Elton John was at the very first public performance of the film in Cannes and I heard it had sent him home in floods of tears. I was amazed that one of my musical heroes had even seen a bit of my work, let alone liked it, and I was even more surprised when a couple of months later I was in New York having supper and discussing the possibility of making a musical of the film. Elton was passionate that the story could work as a musical. What amazed me even more was that Elton insisted that I should write the lyrics to the songs. I was thrilled but also incredibly nervous. The whole project only seemed possible if the original creative team on the movie would commit to being involved. They all committed and I set about writing the songs with Elton. We had an immediate rapport, starting with the first song, and I just kept going till the end. Elton’s music surprised me. Somehow he managed to tap into all sorts of traditions of songs that had huge resonance with the working class culture I was writing about. Hymns, the songs of male voice choirs, folk songs, the kind of rock ‘n’ roll beloved of working men’s clubs were all flooding out. I realise that what we were creating was a form of musical that had a particularly British heritage, going back to music hall, Ewan McColl‘s work with the Unity Theatre, Joan Littlewood’s famous productions at Stratford East, which lead on to Lionel Bart emerging to produce Oliver. It was a tradition which I had seen in the work of the 7:84 Theatre Company in the 1980s – where song, folk dance, politics and gritty humour all came together in the proud working-class tradition of ‘a good night out’. Although we never discussed any of this consciously, Elton had understood that tradition and had thrown down the gauntlet to the rest of us, to create a musical that was truly British, that would be rough, lyrical, funny, and moving in equal measure. But however good it looked on paper and however good the songs sounded on Elton’s demo, the show depends entirely on finding someone to play Billy Elliot. Not only did we need one Billy Elliot but we needed three at any one time. It seemed like an impossible challenge. It took a couple of years to troll through every dance school in the country, but to my amazement, we found a group of boys who surpassed my hopes. The strangest thing was ADAPTATION By Lee Hall 10

conjuring up a story which I thought was an extreme and unlikely metaphoric tale, only to find time after time that it was true. The boys who we discovered were real life Billy Elliots. And I can recognise in them the pure straightforward enjoyment of what they do that I had discovered in Newcastle. Their pleasure is simple, uncomplicated and unpretentious; to them what they do is the most natural thing in the world because they have found a way of expressing themselves. If Billy Elliot is about one thing, it is that we are all capable of making lives for ourselves which are full of joy and self-expression. Whilst we might not all become ballet dancers, we are capable of finding moments of real profundity and creativity whatever our circumstances. But more than that, we have a duty to ourselves and each other to create a society where this possibility in all of us is nurtured and can flourish. We owe it to the next generation to create a world where it is possible for the Billy Elliots, as yet unborn, to have a chance to succeed and flourish, rather than be fed to the machine which grinds us into identical pieces only fit for consumption. If Billy Elliot conveys any message at all, I hope it is that it is possible to fight back and resist and it is possible to move on, without forgetting where you came from. ‘I know that we can produce a society where man will cease to simply go to work and have a little leisure, but will release his latent talent and ability and begin to produce in the cultural sense all the things I know he’s capable of; music, poetry, writing, sculpture whole works of art that, at the moment, lie dormant simply because we, as a society, are not able to tap it.’ Arthur Scargill, leader of National Union of Miners, 1982. 11

‘SO WE WALK PROUDLY AND WE WALK STRONG ALL TOGETHER WE WILL GO AS ONE THE GROUND IS EMPTY AND COLD AS HELL BUT WE ALL GO TOGETHER WHEN WE GO’ ‘Once We Were Kings,’ Billy Elliot the Musical, Lyrics by Lee Hall. Miners lobbying the TUC, photo by Dave Sinclair 12

CONFRONTATION Billy Elliot the Musical is set in the North East of England in the tumultuous years of 1984/1985. It was an extraordinary time in many ways. Margaret Thatcher’s government survived the most ambitious assassination attempt since the Gunpowder Plot; the country faced the fiercest strike action it had seen in 50 years; and famine in the third world prompted an extraordinary humanitarian effort and the release of one of the most famous songs of all time. Bishop Desmond Tutu won the Nobel Peace Prize for his fight against South African apartheid; Britain agreed to hand Hong Kong back to China; and Ronald Regan was returned to the White House with a landslide victory. We can also thank the ‘80s for the fond memory of Arnie first telling the world that he’d be back in The Terminator, whilst Liverpool held their nerve on penalties to win the European Cup for the fourth time. Many of the 1980s’ most enduring images are from the nationwide miners’ strike, which unfolded over 12 torrid months. The battle began in March 1984 when, after an economic recession exposed the industry, the government announced pit closures. But as strikes spread, the demands of the National Union of Minesworkers, and in particular, its leader, Arthur Scargill, became the focus. As the strikers became more defiant, the government reacted with intransigence and intimidation. Police and pickets played out almost daily confrontation and by March 1985, when the strike was finally defeated, 11,291 people had been arrested. It was the longest running conflict of the year. But others had equally enduring legacies. In April, a demonstration against Libya’s leader Colonel Gaddafi outside the Libyan Embassy in London escalated into a siege after WPC Yvonne Fletcher, helping police the crowd, was killed by gunfire thought to have come from inside the building. As armed police surrounded it, the Libyan authorities countered with a siege of the British Embassy in Tripoli. It took 11 days before negotiations finally ended the stand-off, and diplomatic ties between Britain and Libya would not be restored for 15 years. And in Brighton, six months later, came the IRA’s audacious assassination attempt on Thatcher and her cabinet. A 100lb bomb ripped through the Grand Hotel in Brighton during the Tory Party’s annual conference, killing five and injuring 34 others. Thatcher was working on her speech for the final day of the conference when the explosion devastated the building in the early hours of the morning. True to her uncompromising style, she delivered the speech the same day. “This attack has failed,” she declared. “All attempts to destroy democracy by terrorism will fail.” Grim news was not confined to Britain. Ethiopia, ravaged by feminine and Civil War, was in the grip of the worst humanitarian crisis of the 20th century though it was not until a BBC report by Michael Buerk was aired that the full horror hit home. One viewer, the Boomtown Rats singer Bob Geldof, got straight on the phone to his contacts in the pop industry – and Band Aid was born. On 25 November 1984 the biggest names in ‘80s pop met to record, in one day, what would become one of the largest selling singles in chart history. Boy George flew from New York on Concord to take part; Phil Collins recorded the first track; and Paul Young was drafted in as a last-minute replacement for David Bowie. Midge Ure’s celebrated tune rocketed to the Christmas No. 1 position, sold over 3 million copies, and raised more than £8 million for the starving. It was not only the music industry breaking records. More than 24 million, then the largest UK television audience for any sporting event, watched Jayne Torvill and Christopher Dean score maximum points as they scooped gold on the Sarajevo ice rink at the Winter Olympics. Sebastian Coe (1500m) and Daley Thompson (decathlon), won golds at the summer games in Los Angeles, but it was Torvill and Dean who etched themselves on the national consciousness as they performed their ravishing, groundbreaking Boléro on Valentine’s day. Science, too, was breaking new ground. AIDS remained a mystery to many, but scientists working independently in France and America announced that they had isolated the virus that caused AIDS, naming it HIV – Human Immuno-deficiency Virus – and optimistically suggesting that a vaccine would be ready for testing within two years. Meanwhile DNA testing, now helping to convict criminals and resolve paternity cases, was developed after British scientist Dr Alec Jeffreys discovered by chance that certain strands of DNA were unique to every individual. It was also an important era for a computing firm called Apple, which launched a new personal computer, the Macintosh, beginning their campaign with an advert at the NFL Superbowl directed by Ridley Scott. But the ad was not half as surprising as the computer itself – a small machine that weighed in at only 16lbs and came complete with a strange, movable object with a tail, appropriately named a mouse. 13

INSPIRATION It’s not very often that you can say a film changes your life. I had no idea what I was walking into when I accepted an invitation to the premier of Billy Elliot at the Cannes Film Festival. I was aware of the formidable creative reputation of the film’s director Stephen Daldry. My response to the film was profound. The story of young Billy, a gifted working class boy with artistic ambitions seemingly beyond his reach, had so many parallels to my own childhood. Like Billy, the opportunity to express myself artistically was a passport to a better, more fulfilling life. As a child, I dreamt of a career in music, escaping into my treasured record collection for inspiration and hope. It was the unfailing support of my mother and grandmother that helped me achieve my ambitions. With their encouragement and a scholarship to the Royal Academy of Music, I started building a foundation that has allowed me to rejoice in a musical career that has exceeded my wildest dreams. To see Billy literally dance his way out of the bleak and cruel environment created by the British mining industry’s demise was inspirational. To see Billy’s family rally behind his artistic gift moved me to tears. By the screenings end, the audience response was overwhelming. As Jamie Bell took a glorious victory lap around the cinema astride Stephen’s shoulders, I had to be helped up the aisle sobbing. The film had really got under my skin. I went along to the after-party, because I wanted to meet Daldry, Lee Hall (the film’s writer) and the extraordinary Jamie Bell. We all got on instantly. Also at the screening and after-party was my dear friend Sally Green from The Old Vic Theatre. Everyone was revelling in the euphoria from the screening when someone suggested that Billy Elliot would make the most amazing stage musical. The T-Rex soundtrack from the film was brilliant, but imagine the opportunity to create original compositions for a story that is so naturally rooted in music. I couldn’t think of a project that I would want to work on more. Billy Elliot went on to become the cinematic successes it deserved to be, garnering amazing box office and several BAFTA and Academy Award nominations. Thankfully, the idea of Billy Elliot the Musical never went away. Several years later when Working Title and Old Vic Productions approached me about the possibility of working on the project, I was immediately interested. Lee Hall had signed on to adapt his screenplay but wanted to have a crack at writing the libretto. Most of my musical life had been spent writing to Bernie Taupin‘s wonderful words, but collaborating with another brilliant lyricist, Tim Rice, for The Lion King and AIDA was hugely enjoyable. The right lyricist is essential, as all of my melodies are lyrically driven. When I sit down at the piano to craft a song, it’s an instinctive and organic process. While immersing myself in the words, I try and connect with the emotional heart of the material. It’s really quite straightforward. Either a melody comes out or it doesn’t. We decided to write the musical chronologically, so the melodic structure follows the emotional highs and lows of the story. Lee Hall had never written a lyric in his life, but you wouldn’t know it from the first words received via fax in Atlanta. The first song written was the anthemic show opener The Stars Look Down. I found Lee’s words to be massively rousing. They evince the miners,’ sacrosanct display of unity struggling at odds with the desperation of their plight. ‘We will always stand together. In the dark, right through the storm. We will stand, shoulder to shoulder. To keep us warm.’ They perfectly depict the backdrop for Billy’s dramatic and artistic journey. Lee’s entire libretto was equally inspirational. The melodies flowed right out of me. Perhaps the words that touched me most are those to Electricity. I’m often asked to describe how I write melodies and I find it quite difficult to elaborate on the explanation given earlier. When Billy is asked at the Royal Ballet School auditions how he feels when he dances, his response comes very close to summing it up for me. ‘I can’t really explain it. I haven’t got the words. It’s a feeling that you can’t control. I suppose it’s like forgetting, losing who you are. And at the same time something makes you whole.’ Billy Elliot the Musical has been an enormous success in London. Smashing box office records in the West End and winning Olivier Awards for the three boys who originated the Billy role has been thrilling. Audiences continue to respond so positively to the show. Every time I watch your performance, I’m always moved to tears. With over 1000 performances under our belt, Billy Elliot the Musical keeps going from strength to strength. Perhaps the most rewarding aspect of this magical production has been working with all the children appearing on stage. The show has become such a springboard for these young, talented, aspiring little performers. Watching them grow in confidence and ability is incredibly heartwarming and immensely rewarding. And now it’s time for our Billy family to grow in Australia, a place that has always been particularly special to me. I know Australian audiences are going to love the show. Australia has always loved a winner and Billy’s inspiring and rousing journey is right up there alley. I am extraordinarily proud of what Lee and I have created for the stage musical of Billy Elliot. The show demonstrates everything I love about the power of art. It can inspire you. You can transform lives. Art can make you look at life in a way you never have before. And you can take your place as well beyond your wildest dreams. By Elton John 14

ELTON JOHN Music He’s a songwriter, humanitarian, Grammy, Oscar, Tony and BRIT award winner, Broadway champion, football benefactor, a knight of the realm, a superstar and yet still a man of the people. With more than 200 million album sales, Elton John is the most enduring successful singer/songwriter of his own, or any other, generation, and also the most decorated. On the business side, Elton remains the most educated of musicians. He champions up-and-coming artists, devotedly, and has seen one of those talented, James Blunt, become one of the best selling artists of the decade. Elton’s charitable endeavours include his Elton John AIDS foundation, which to date has raised over $100 million. Theatrically, Elton has also created the music for new musical, The Devil Wears Prada. His film work includes his collaboration with lyricist Tim Rice on music for Disney’s The Lion King, winning him not only a Grammy, but his first Academy award, after which he collaborated with Rice again on the Broadway smash Aida. Along with partner David Furnish, Elton has produced It’s a Boy/Girl Thing, with Rocket Pictures, and also written songs for their animated movie, Gnomeo and Juliet. But for all of these commitments, he would never disrespect his day job of close to 40 years. Born Reginald Kenneth Dwight, he is an ever thankful student of the Royal Academy of Music. Lyricist Bernie Taupin’s melody man from 1966 to this day, he recreated himself as Elton John in ‘68, and has been shining in the global spotlight since a life changing performance at LA’s Troubadour in the summer of 1970. Elton’s multi platinum body of work includes such groundbreaking hits as Rocket Man, Goodbye Yellow Brick Road, Bennie and the Jets, Don’t Go Breaking My Heart, Tiny Dancer, and Your Song. Until recently Elton, with all his characteristic bravura, has played internationally time and time again to record-breaking audiences at every legendary venue. His stadium shows around the world remain one of the “must see” events for any music fan. LEE HALL Book and Lyrics Playwright Lee Hall was born in Newcastle in 1966. His acclaimed play Spoonface Steinberg (1997), a monologue for a nine-year-old autistic girl dying of cancer, was first broadcast by BBC Radio 4 in 1997. He subsequently adapted the play for television in 1998 and for the stage in 2000. He was appointed Writer in Residence at the Royal Shakespeare Company in 1999/2000 under the Pearson Playwrights Scheme Award. Cooking with Elvis (2000), adapted from the play he wrote for the BBC Radio ‘God’s Country’ series that included Spoonface Steinberg, premiered at the Edinburgh Festival in 2000 and transferred to London’s West End in a production starring the comedian Frank Skinner. His adaptation of Goldoni’s The Servant with Two Masters was first staged at the Royal Shakespeare Company in Stratford in 1999. He has translated two plays by Bertolt Brecht: Mr Puntilla and His Man Matti, written for The Right Size/Almeida Theatre, which premiered at the Edinburgh Fringe Festival in 1998; and Mother Courage, staged by Shared Experience theatre company in 2000. His adaptation of the Dutch play The Good Hope (2001) by Herman Heijermans opened at the Royal National Theatre in 2001. He also wrote the screenplay to the film Billy Elliot (1999), directed by Stephen Daldry for Tiger/BBC Films/WT2, and received an Oscar nomination for Best Original Screenplay. He adapted his own play, I Luv You Jimmy Spud (1997), as a feature film starring Billy Connolly in 2000. Lee Hall co-wrote the screenplay for the film, Pride and Prejudice, in 2005, and adapted The Wind in the Willows for television, in 2006. The Pitmen Painters (2008) premiered at the Live Theatre, Newcastle-upon-Tyne in 2007. In 2014, Hall wrote the script for Shakespeare in Love, adapted from the film of the same title, which was performed at the Noel Coward Theatre in London. His 2015 adaptation of Alan Warner’s novel The Sopranos is entitled Our Ladies of Perpetual Succour. 16

PETER DARLING Original choreography Peter Darling choreographed the film Billy Elliot (MTV Best Dance Sequence, and America Choreography nominations). Theatre West End: Billy Elliot (Best Choreographer, Laurence Olivier Award, Critic Circle Award, Whatsononstage.com Award); Lord Of The Rings (Best Choreographer Dora Award, Toronto); Our House directed by Matthew Warchus, (Cambridge Theatre) (Best Choreographer, Olivier nomination, Best Musical Olivier Award 2003); Merrily We Roll Along (The Donmar Warehouse) (Best Choreographer, Olivier nomination, Best Musical Olivier Award 2001); Candide (The Royal National Theatre) (Best Choreographer, Olivier nomination, Outstanding Musical Production 2000 Olivier Award); Oh, What a Lovely War! (The Royal National Theatre 1999) Off-West End: Closer To Heaven for The Pet Shop Boys/Really Useful Group (Best Choreographer, Whatsonstage.com Award 2002). Other Power (Royal National Theatre); A Midsummer Night’s Dream (Bristol Old Vic), Sunset Boulevard for the Really Useful Group (UK Tour); The Tempest for the Royal Shakespeare Company; Edward II; The Country Wife; As You Like It and Twelfth Night all directed by Michael Grandage. Film For Really Useful Films: The Phantom Of The Opera, directed by Joel Schumacher. For Miramax, Plots With A View, directed by Nick Hurran and Trauma. STEPHEN DALDRY Original direction Theatre Billy Elliot the Musical at the Victoria Palace Theatre. For the Royal Court Theatre - A Number by Caryl Churchill; Far Away by Caryl Churchill (also at the Albery Theatre and New York Theatre Workshop); Via Dolorosa by David Hare (also at the Duchess Theatre and on Broadway); Rat in the Skull by Ron Hutchinson (Royal Court, Classic Season); Body Talk; The Kitchen by Arnold Wesker; The Editing Process by Meredith Cakas; Search and Destroy by Howard Korder. For the National Theatre – An Inspector Calls (also West End, Broadway and worldwide); Machinal. For the Gate Theatre – Damned for Despair, Figaro Gets Divorced. Many productions at Sheffield Crucible Theatre, where he started his career under the late Clare Veneable. Productions at Manchester Library Theatre, Liverpool Playhouse, Stratford East, Oxford Stage, Brighton and Edinburgh Fringe Festival. Stephen was Artistic Director of the Royal Court Theatre from 1992-98, where he headed the £26 million redevelopment; the Gate Theatre (1989-92) and the Metro Theatre Company (1984-86). He is on the Board of the Young and Old Vic Theatres and remains an Associate Director of the Royal Court. Stephen was the Cameron Mackintosh Visiting Professor of Contemporary Theatre for 2002 at St Catherine‘s College, Oxford. He has won many awards for his theatrical work, both in the UK and the USA. Film and TV The Reader with Nicole Kidman and Ralph Fiennes. The screenplay is written by David Hare, based on the novel by Bernhard Schlink. Stephen has produced two Omnibus programs for BBC2. His first feature film Billy Elliot won over 40 awards worldwide and received 3 Oscar nominations, including Best Director. His second feature The Hours also won innumerable international awards, including Best Picture at the Golden Globes and received 9 Oscar and 11 BAFTA nominations. 17

THE CREATIVE TEAM ANNA KERRIGAN Director Anna trained at Bretton Hall in the UK and gained a BA (Hons) in Theatre Acting in 2002. As an actor, Anna has worked with a number of companies in the UK and Australia, including Wigan Pier Theatre Company where she was a company member for two years, Whiplash Theatre Company (Oh What a Lovely War), Powerhouse Theatre (Company), Experimental Theatre (East, A Doll’s House), Pickles Productions (Schools Tour), Catapult Theatre Company (Catapult Cream) and the New Theatre (A Servant of Two Masters, Bazaar and Rummage). She has also featured in a number of short films and commercials and has extensive experience as a vocalist with various bands and acoustic duos. As a director, Anna has worked on a large number of scripted and devised productions, with and for young people, through Wigan Pier Theatre Company, Barking Gecko Youth Theatre Company, Tantrum Theatre Company, Mad Cow Theatre Company, Australian Theatre for Young People, Stone Gang Show and as Assistant Director for Sydney Theatre Company - Next Stage. Anna has extensive experience in the youth theatre sector, working with companies and schools over the past 20 years. She has held positions with Barking Gecko Theatre Co (Participation Co-ordinator), Tantrum Theatre Co (Workshop Co-ordinator) and Australian Theatre for Young People (Workshop Manager) before joining the ASPIRE program as Artistic Director in 2012. Anna was also selected to be part of Melbourne Theatre Company’s 2018 Women in Theatre Program. In her role as ASPIRE Artistic Director, Anna has written and directed 11 major productions. She has been instrumental in building a performing arts program that operates across the Catholic Schools of the Maitland Newcastle Diocese, with a focus on original work and empowering students to create their own theatre, music and artwork. Billy Elliot the Musical is Anna’s debut as director with The Very Popular Theatre Company. DAN WILSON Musical Director Dan is currently the Head Teacher of Creative & Performing Arts at Lambton High School. He is most known in Newcastle as the Musical Director and Conductor of Star Struck at the Newcastle Entertainment Centre, for which he was nominated for the Telstra ARIA Award for Music Teacher of the year. He has also conducted productions of Jersey Boys, Chess, Mamma Mia!, Rock Of Ages, The Witches Of Eastwick, Into The Woods, Disney’s High School Musical, Oliver, Grease, Annie, Wuthering Heights and Jesus Christ Superstar. In Sydney, he has played in the orchestra for the original Australian productions of Disney’s Beauty And The Beast, The Phantom Of The Opera, Wicked, Disney’s The Lion King and Side By Side By Sondheim. In 2013, he was the Music Producer and Assistant to John Foreman for the Special Olympics Opening Ceremony. As an arranger, he has provided arrangements for the Hunter Singers, Silvie Paladino, Marina Prior, Erin James, Tyran Parke, Lucy Durack, Debra Byrne, Avagail Herman and the casts of Wicked and Love Never Dies. Dan has also been Musical Director for The Rumour’s You Oughta Know: The Songs Of Alanis Morrisette, In The Air Tonight: A Night Of Phil Collins and, most recently, B & B: A Night Of Benny And Bjorn, starring Silvie Paladino. Dan is the resident Musical Director for The Very Popular Theatre Company. 18

LAUREN HARVEY Choreography restaging Lauren is a theatre creator with more than 15 years’ experience in the arts. Whilst she started her career on stage, you can now find her peering through the curtain to watch her creations come to life. She has immersed herself in many different aspects of the theatre world as a choreographer, director, vocal coach, performer, and costume creator. Lauren has been contributing to the Newcastle theatre scene for the last 12 years, winning awards in choreography, costume design, and hair and makeup for works such as Seussical (Hunter Drama), The Pecking Order, The Cost of Wishes, and Dark Matter (ASPIRE). She has also choreographed and performed in shows such as Oliver! (Hunter Drama), and Monty Python’s Spamalot (The Very Popular Theatre Company). Lauren has been a part of the creative team for ASPIRE (the Catholic Diocese’ performing arts program) since its inception. She is proud to have helped create 12 original works held at the Civic Theatre, performed and also created by local talented youth. She is passionate about youth involvement in theatre and will continue to use her broad range of skills to help nurture young people to become all round performers. AUDREY CURRIE Costume Designer Audrey started her formal costume journey at NIDA making corsets and graduated from Ultimo TAFE with a Diploma in Costume for Performance (recipient of the 2013 Costume Award for Outstanding Commitment and Achievement). Audrey has worked as an on-set dresser on Mad Max Fury Road and Gods of Egypt as well as local TV and TVCs. Audrey worked in the costume workroom at STC for their productions of Rosencrantz and Guildenstern are Dead and Noise’s Off. Audrey was a backstage dresser for Gordon Frost’s Wicked and Costume Designer for Into The Woods (Bloom Creative Productions). Audrey has been the Costume Designer/Co-ordinator for Packemin Productions since 2016 and has just completed her 15th production at Riverside Theatre in Parramatta. Credits include Joseph and The Amazing Technicolour Dreamcoat, Back to the 80s, Wicked, Cats, Miss Saigon (Best Costume Design – Music 2017 Broadway World Sydney Awards), Shrek, Legally Blonde, Jesus Christ Superstar, Mamma Mia!, Les Miserables, We Will Rock You and Kinky Boots. This is Audrey’s debut production with The Very Popular Theatre Co and would like to thank them for allowing her to relive her youth of 1980’s Britain. JACOB HARWOOD Sound and Lighting Designer Jacob is Newcastle’s favourite lighting designer. He does all the big stuff like Jersey Boys (The Very Popular Theatre Company), Chess (The Very Popular Theatre Company), Mamma Mia! (The Very Popular Theatre Company), Rock of Ages (Hunter Drama), Oliver! (Hunter Drama), Phantom Of The Opera (Metropolitan Players), Strictly Ballroom (St Philip’s Christian College), Hairspray (Metropolitan Players), Mary Poppins (Metropolitan Players), Wicked (Metropolitan Players), Shrek The Musical (Hunter Drama), Disney’s Aladdin Jr (Hunter Drama), Rent (Hunter Drama) and Disney’s Beauty And The Beast (Metropolitan Players). He is a versatile designer, also having designed small scale plays at the Civic Playhouse, including The Very Popular Theatre Company’s Endgame. Jacob is a multi-CONDA Award winning lighting and sound designer. He has many other areas of expertise in the technical arena and has also spent time filling the role of Technical Manager at the Civic Theatre. RYLEE O’ROURKE Assistant Director Rylee is a theatre maker and performer with more than 8 years’ experience working with young people and adults in Newcastle and the Hunter. She is currently working as a Drama teacher for the Catholic Schools Office both within the classroom and as a tutor with ASPIRE. Her credits include directing Picnic at Hanging Rock (Young People’s Theatre), assistant directing the award-winning A Doll’s House (Maitland Repertory Theatre), assistant directing the Australian premier of The Shawshank Redemption (Hunter Drama), Co-Founding All’s One Theatre Company and producing the company’s first show, Ghosts, Stage Managing Fantastic Mr Fox and The Witches (Hunter Drama), and as a performer in original works Aftermath and Perceptions (Hunter Drama). Most recently, Rylee has been training in collaboration with Belvoir Theatre Company as part of their First-Class Program to help promote the Creative and Performing Arts in schools. Billy Elliot the Musical is Rylee’s debut with The Very Popular Theatre Company. 19

BRETT MORGAN Billy School Ballet Trainer Brett Morgan’s career in classical and contemporary dance has seen him grace stages all over the world, performing more than 40 principal and soloist roles to critical acclaim with Australian Ballet Company, later joining Sydney Dance Company, where he performed and directed for more than 17 years, working his way up to Associate Artistic Director and running the company in 2010. Brett is the Owner and Artistic Director of the National College of Dance, fulfilling his passion to offer dancers the opportunity of elite pre-professional training within regional Australia. Awarded the Centenary Medal for his Contribution to the Arts in 2000, as well as the Order of Australia Medal for his contribution to Australian Arts (in particular Dance) in 2021. Career highlights include performing and meeting The Queen at Covent Garden, performing Crixus in Spartacus at the Lincoln Centre New York, dancing at the Mariinsky Theatre in St Petersburg. Brett feels blessed to say he chose a career he loves so much he never feels he is ever going to work. Billy Elliot the Musical is Brett’s debut with The Very Popular Theatre Company. JAKE BURDEN Billy School Ballet Trainer Jake Burden was born in the UK and completed his Degree with Elmhurst Ballet School. Jake has worked with companies around the world, including Birmingham Royal Ballet, Magdeburg Ballet, Leipzig Ballet and Singapore Ballet. Throughout his career, he danced countless choreographic works in lead roles by world renowned choreographers. Highlights of Jake’s career include being awarded the Young Dancer of the Year award (Germany) in 2011 and performing for the British Royal family and the Cambodian Royal family. Jake has also appeared in musicals including West Side Story, Beauty and the Beast, My Fair Lady, Jekyll & Hyde, Hello Dolly, Evita and Sunset Boulevard. Jake moved to Australia in 2016, starting his organisation Ballet Brothers and working for National College of Dance, where he is now the Creative Director. Jake is known for his personal choreographic style, which has been called modern, sleek and stylish by leading dance critics. Billy Elliot the Musical is Jake’s debut with The Very Popular Theatre Company. EYGLÓ BJÖRK Billy School Acro Trainer Eygló Björk started gymnastics at a young age and kept going up to teenage years, initially competing in Artistic Gymnastics, then moved into European Team Gym. During training, there was always a big emphasis on different types of dance, including ballet, contemporary, jazz and cultural from all over the world. Eygló Björk became a teacher and a judge for artistic and team gym, which gives her a greater spectrum of how to improve her students. Eygló has been involved in the dance industry in Australia for many years and enjoys the challenges and joys of teaching the younger generation. Billy Elliot the Musical is Eygló’s debut with The Very Popular Theatre Company. KIM HORNBY Billy School Singing Trainer Kim started her musical career at nine years of age on NBN Television as a Swallow Junior, and appeared regularly on Melbourne’s Brian and the Juniors. She has performed in many pantomimes and musical theatre shows, including the role of Marta in the Australian cast of Sound of Music, her first professional show. Her career has led to many engagements overseas in England, Europe and the Philippines (singing for the American Troops, post Vietnam War). In Australia, she has toured with Del Shannon, Simon Gallagher, Don Lane and Paul Hogan, just to name a few. Kim has recorded e-books, voiceovers and a syllabus for speech pathologists, and appeared in many commercials. Kim studied with Rowena Cowley at Sydney Conservatorium, as well as masterclasses in Umbria Italy, Newcastle Conservatorium and Early Childhood at Newcastle College of Advanced Education and has a Graduate Certificate in Music (Pedagogy) from the University of Sydney. Best known as Miss Kim from Romper Room, a role she is very proud of, she graced the television, 5 days a week for 23 years, and is documented to be the longest running hostess of that show. Kim has taught singing and musical theatre for the past 24 years, and can proudly say her students are scattered all over the world in recent productions. Kim has worked continually in TV, radio and stage for the past 60 years, so her knowledge is vast. Billy Elliot the Musical is Kim’s debut with The Very Popular Theatre Company. DANIEL STODDART Set Designer Daniel is one of the Hunter’s most well established theatre workers. As a co-founder of OzTheatrics, he produces the annual Junior Theatre Festival Australia, he is the Founder and CEO of Hunter Drama, as well as Producer and Artistic Director for The Very Popular Theatre Company. As an actor, Daniel is a multi-City of Newcastle Drama Association (CONDA) award winner, with credits including Endgame (Very Popular Theatre Company), The Complete Works Of William Shakespeare (Abridged) (Popular Theatre Company), Mary Poppins (Metropolitan Players) and Phantom Of The Opera (Metropolitan Players). Daniel is perhaps best known as one of the stars of the publicly acclaimed Ultra Swing Lounge. As a director, his credits include Jersey Boys, Rock Of Ages, The Book Of Everything, Shrek The Musical, Disney’s The Little Mermaid, The BFG, Roald Dahl’s The Twits, Spring Awakening and Fantastic Mr Fox. Daniel is an AusGrid Achievement in the Arts Award recipient for his services and contribution to the arts in the Hunter Region and a Freddie G Fellowship recipient in the USA. Daniel has been awarded the keys to the city in North Carolina for his contributions to the arts in the USA and is a published Music Theatre International author with his stage adaptation of Dot And The Kangaroo JR. Daniel is a multi-CONDA award winning Set Designer. 20

PHILLIP STODDART Associate Set Designer Phillip is one of The Very Popular Theatre Company’s most experienced senior members. Phillip began his career at an early age, as an apprentice joiner and cabinet maker, where he worked in the trade for many decades. Phillip’s set building and realisation credits span back to the original founding days of The Very Popular Theatre Company, with shows Schools for Clowns, Clowns on School Outing, Endgame, HIR, and Jersey Boys. For Hunter Drama James and the Giant Peach, Rock of Age and Peter Pan JR. And The Well for ASPIRE. Phillip is a CONDA award nominee for many of his projects. MEG CONNELLY Props Designer Megan got her start backstage during Mary Poppins (Metropolitan Players) when she solved the question of how to make the magic carpet rise. She then assisted in prop making for Wicked and We Will Rock You (Metropolitan Players) and was hooked. Her first solo venture into the props world was Mystery Musical Vol. 1: The Addams Family (The Very Popular Theatre Company). Other productions include: Jersey Boys, Mystery Musical Vol 2: Spamalot and Puffs (The Very Popular Theatre Company), Charlie and the Chocolate Factory, Rock of Ages, Peter Pan JR and Oliver (Hunter Drama), The Addams Family (Wyong Musical Theatre Company), and Suzette Who Set To Sea (Stage Left Productions). When not backstage, Megan enjoys performing and has been an active member of the Newcastle theatre scene since 2013, appearing in both musicals and plays across multiple theatre companies. RACHEL MILLARD Make-up Design Rachel has had the privilege of being involved in the Newcastle Theatre scene for the last 14 years. She has been on the make-up team for Jersey Boys (The Very Popular Theatre Company), Rent, Rock Of Ages, Charlie And The Chocolate Factory, and Fantastic Mr Fox (Hunter Drama), The Producers, Hairspray, Mary Poppins, Phantom Of The Opera and Wicked (Metropolitan Players). As Make-up Designer, Rachel’s credits over the last five years include Seussical and Oliver (Hunter Drama), Les Miserables, We Will Rock You, Beauty And The Beast, Pricilla: Queen Of The Desert and Shrek The Musical (Metropolitan Players). KELLY BRIEN Hair Design Kelly returns to The Very Popular Theatre Company after working on Jersey Boys in hair and wig design. She has a hairdressing career spanning four decades and a passion for backstage co-ordination and design. She is a freelance artist and works with the creative team at Seven Network in hair, makeup, wardrobe and costume, working in TV promotions and advertising. She has a great respect for all talent in the creative industries and continually supports local theatrical and musical productions. She has received previous CONDA nominations for Costume Design with Young Peoples Theatre and continues to expand her creative endeavours. This includes recently completing Fashion Design & Technology at Newcastle Tafe. SIDDHA CROSSLEY Stage Manager Siddha is a Newcastle-based actor who also works in arts administration. Siddha’s on-stage credits include: Charlie and the Chocolate Factory, Into the Woods JR, Sweet Charity, Oliver! and The Wedding Singer (Hunter Drama); Heathers (Chookas); and The Seagull (All’s One Theatre Company). Siddha’s first foray into stage management was in Hunter Drama’s 2022 production of Seussical and she is excited to be stage managing with The Very Popular Theatre Company for the first time. ABBEY FOTHERINGHAM Chaperone Abbey, a devoted student at the National College of Dance since age 3, has progressed from Assistant Teacher to leading her own classes. Excellent versatility in ballet, contemporary, jazz, and musical theatre, and in the RAD Syllabus from Pre-primary to Advanced 1, completing all examinations with high success. Abbey has showcased her talent in Newcastle’s musicals. At Hunter School of the Performing Arts, she completed Dance for her Higher School Certificate, with three call-back nominations and placed in the top four in the state. Abbey has a Certificate 3 in Assistant Dance Teaching. Billy Elliot the Musical is Abbey’s debut with The Very Popular Theatre Company. 21

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