Interview: Justin Smith (Billy Elliot)

Featuring music by the legendary Elton John, Billy Elliot the Musical is an extraordinary theatrical experience that has captivated audiences around the world. Seen by over 12 million people worldwide and acclaimed by audiences and critics alike, Billy Elliot is the recipient of over 85 awards internationally.

Following its spectacular first tour in Australia, the 10th Anniversary Tour of Billy Elliot arrives in Sydney this October for a strictly limited 10 week season. Billy is directed by the award-winning Stephen Daldry, with book and lyrics by Lee Hall and choreography by Peter Darling.

Billy Elliot returns to Australia in an anniversary performance of the great musical that in many ways proved trailblazing in what is now a very modern conversation about gender playing no place in dictating what children should be exposed to and what they should be permitted to be passionate about. Young Billy wants to pursue his passion for ballet over boxing, much to his father’s disarray. First off, can you speak to why, 10 years later you believe audiences will love the show as much as they did the first time and how timely its thematic concerns may prove to 2019 audiences?

Well you’ve just outlined it really. 10 years ago it felt like a broader look at classic gender roles and the “usual” expectations grown ups have of kids. But this time round, the conversation in our society is so much more in depth. And I think show has even greater relevance.

​Billy’s father is unquestionably one of his largest obstacles in pursuing his passion and being his true self and this is the character you are now tasked with taking on. Can you speak about the challenges of this character but also the great things you have learnt both about him as a character, and from him as an actor.

(I will try and keep this brief - I could write an essay...)

As with any character, Dad, Jackie Elliot, is a product of his world. You need to understand his place in the context of the world of the play obviously. So social, historical and cultural context plays a big part. Because he’s grown up in the 50s of Northern England. You can imagine the simple life a miner of his generation would be used to living. He’s been raised in a certain way and has a kind of default setting inherited from his father I suppose. When you add to that the death of his wife and he’s left to care for and raise 2 boys, plus take care of his mother, I have great sympathy for his struggles. I have a hard enough time with my 2 sons and I live in much easier times. Then of course you have a nation wide strike that lasts three days short of a year. People are broke and starving. Living off goodwill and soup kitchens etc. things aren’t great. So - He’s not an asshole dad. Really he’s the one who grows the most in the play. So the challenge is to present him as a flawed person who’s struggling to come to terms with a changing world and a son who’s set on following a completely alien life. And he does. Even though I consider myself an open minded person and father, that is a lesson I think we should all remember.

What has changed, in your opinion, over the 10 years since we last saw the show and what can audiences, who have seen the show, look forward to in this new version? And for those new audiences for whom this will be their first BE experience, what is something that you believe they can really look forward to?

Well it’s not really a new version. It’s the wonderful show it’s always been. But as I said, I think in this current world, people will potentially take more from it. Or at least appreciate how far things have come. But also there’s stilll work to be done in embracing people’s individuality and not falling into the trap of gender stereotypes and that sort of thing. They can look forward to seeing these incredible kids do some extraordinary things. The is jam packed with fabulous numbers and performances but against the backdrop of this tumultuous time in England’s history it also has such heart. More so than a lot of musicals Billy Elliot has this extraordinary script by Lee Hall who wrote the film. It’d stand up as a great play without the songs. So really you’re getting 2 shows for1. Ha! Not to mention it’s Kelley Abbey’s first show in years - so people should buy a ticket just to see her.

Favourite song in the show?

I love Grandma’s song. She has such a wonderful relationship with Billy. And the song has since a wonderful mix of pathos and joy that it’s one of my favourites. Also the choreography using just Grandma amongst this sea of men is just great. And Vivienne Davies is amazing as Grandma.

And a song that you don’t sing in the show but wish you could take to the stage with...

Sorry - not really. Another great thing about the show is that it’s such an ensemble piece. So everyone is involved in most of the numbers bar a couple. So there’s nothing left for me to choose from.

Your personal resume is extensive and audiences will be very familiar with you if they have been to an STC, Belvoir, Darlinghurst, Bell Shakespeare, etc show in the last few years, or if they have watched Australian TV shows of late as well. Can you talk a bit about how this show and this role are different to others that you have taken on and also what you find you learn from each project you take on?

I’ve played a lot of comic character roles. Often immature gormless types. So it’s nice to be old enough now and to have an opportunity to play a guy who’s lived a bit and has a lot of baggage and shortcomings to push through. Warts and all type thing so I’m trying to get all his gnarly bits out there. One of the great things about getting older is that you stop caring so much about what people think. I was always a bit of a pleaser - always wanted to get the tick of approval in whatever way but now I don’t really care. So that makes it easier to let go and get stuck into a role. You need to stay open on stage and let yourself be affected by things. You can’t do that if you’re worried about impressing people. So I’m trying to do that a little bit more with each role that comes along.

How do you now choose projects?

Script script script. Then other things like who’s involved. Is the character something new for you, or challenging, or just fun even.

And finally, which are the characters – say top 3 – that you have played that have really stayed with you and taught you more about yourself or your craft as a result of playing them.

It’s often about the experience as much as the role that you cherish. I loved doing Billy Elliot last time. I enjoy working with this company. I made some lifelong friends on billy Elliot so it’s amazing to get to do it again. I’ve particularly enjoyed recent tv experiences like Secret City (Foxtel/Netflix). The role of William Vaughn in that was so wonderful and mysterious. Doing independent theatre at the Old Fitz back in the day with my wife Sophie Gregg and close friends was formative and hilarious and excellent. Every actor should experience what it’s like to produce direct and act in shows. It’s such great grounding work and I will always cherish and remember those times.

RAPID FIRE QUESTIONS:

Favourite production you have ever seen?

Not sure if anyone will know it but The Three Lives of Lucie Cabrol by English company Theatré de Complicité that toured Australia in 1996 or so. Theatre that is visceral and raw and magical. I recently loved Caroline or Change at The Hayes too!

You’re getting on a plane tomorrow and you can go anywhere in the world, where do you go?

Japan to catch the rest of the rugby World Cup. Or Portugal just cos I’ve always wanted to.

Dream show to perform in?

I’d love to do Sweeney Todd as some point. Who knows. More Sondheim in any case....

Plays or musicals?

Well if you write something like Billy Elliot it’s both! know in Indonesia (I think it’s Indonesia) there is no word for theatre or plays or musicals. Just song and dance.

A hobby you have beyond the theatre?

I love cooking. I think I’d be a chef if I wasn’t an actor. Or maybe I’m not tough enough. It’s a hard life. But I love food! So cooking!

Billy Elliot opens in Sydney on October 10 2019, before embarking on a national tour. You can get your tickets here.