Though Billy Elliot: The Musical finished its run on Broadway just a few weeks ago, American audiences are still able to see this winner of ten Tony Awards via its national tour, which is currently playing at the Aronoff Center in Cincinnati, Ohio. The high energy dances, touching story, first-rate cast, and tuneful score make this tour one worth seeing, even if the show itself is only very good, instead of great.

The musical is based on the 2000 film and focuses on young Billy, an 11-year old British boy growing up without a mother in the mid-1980s during the UK miners' strike that greatly affects his family and community. The boy finds solace learning to dance, where his talents and passion for life blossom.

The book is by Lee Hall, who wrote the movie's screenplay, while the songs boast lyrics by Mr. Hall and music by Sir Elton John. The story is one filled with drama, tension, humor, pathos, societal conundrums, a unique historical perspective, and characters worth caring about. It's also one which lends itself well to being organically adapted as a musical. Though almost half the cast consists of children, there's plenty of ribald language (though it seems to have been tamed down a bit from the Broadway version), so parental discretion is advised. The score doesn't have as many standout numbers as many modern successful musicals do, but the songs feel appropriate to time and place and provide insight to the characters. The best songs are "Shine" (where dance teacher Mrs. Wilkinson comically chides her students to excel), "Solidarity," "Expressing Yourself" and "Electricity," Billy's explanation of how it feels to dance. There are a bit too many group anthems, and as appropriate and solid as the score is, there were better ones on Broadway the year it debuted (such Next To Normal, recently seen here at ETC), and the show is one driven by the dances and story, not the songs.

For the stage adaptation, Stephen Daldry (direction) and Peter Darling (choreography) repeat their duties from the film. Director Daldry is responsible for both Billy Elliot's best moments, as well as its largest misses. His choice and ability to merge the intimate story of Billy with the larger backdrop of the miner's strike is accomplished seamlessly, with the song "Solidarity" being pure genius in this manner. There are other moments that likewise presented with outstanding theatrical flair and which pull the necessary emotional punches required. However, at other times the show seems overproduced. Songs such as "Expressing Yourself" and "Grandma's Song" don't need to be large production numbers and the fantasy elements of each detract from the overall humor and poignancy of the messages. Likewise, the dream sequence when Billy "flies" seems excessive as well. The dances by Mr. Darling for Billy and the adult ensemble are athletic, technically challenging, and aesthetically beautiful. They are also full of passion and serve as an emotional outlet for the characters, as best seen in the raw power of "Angry Dance." The ballet class choreography for the girls and tap dancing numbers for Michael and the finale are playful and entertaining.

The role of Billy is shared by five young actors, and was played on opening night in Cincinnati by Kylend Hetherington. Mr. Hetherington possesses great acting chops, sings adequately, and is an exceptional, powerful, and graceful dancer. Broadway vet Leah Hocking (Mrs. Wilkinson) is fun and funny, as well as tender-hearted and determined, as the dance instructor who sees potential in Billy. As Billy's young pal Michael, Ben Cook handles the dancing, singing, and comedic elements of this showy role with skill. Providing solid support is Rich Hebert (Billy's Dad), Cynthia Darlow (Grandma), Samantha B. Cutler (Debbie), Cullen R. Titmas (Tony) and Kat Hennessey (Mum). The entire ensemble deserves praise for their boundless energy, effort, and talent.

The touring version of Billy Elliot is a bit different from the Broadway version in its look. The set design by Ian MacNeil is scaled-down slightly, but still captures the working class world of the setting. The handsome, period appropriate costumes by Nicky Gillibrand include an altered look for the "fantasy" dancers in "Expressing Yourself." The lighting by Rick Fisher is varied, and is showcased greatly in songs such as "Angry Dance" and "Once We Were Kings." The sound design by Paul Arditti is professionally rendered and clear, which is a necessity given the thick accents employed by the actors.

Billy Elliot doesn't feel or look like most shows that Cincinnati hosts on tour, likely due to its dance-centric storytelling and its British setting. The show may not be quite as good as its ten Tony Awards might suggest, but it is still a very strong and well-crafted piece overall. The wonderful cast, led by its young performers, and the gratifying dances, make this tour one not to miss. Billy Elliot continues at the Aronoff Center in Cincinnati through January 29, 2012. For more information on the tour, visit www.billyelliottour.com/us-tour.

Also see the current Cincinnati Area Theatre Schedule