In the trend of Hollywood movies turning to Broadway musicals, you have your standard screen-to-stage adaptations in the tradition of The Lion King and The Producers (which, of course, then went right back to the silver screen): Hairspray (also on its way back), Young Frankenstein, Cry-Baby, Tarzan and even some that have nothing to do with Mel Brooks, John Waters or Disney, like Spamalot and The Full Monty. Then, this season, there's the move of talent crossing the Great White Way: Tom Cruise's wife in All My Sons or Harry Potter's, er, staff in Equus.
And Now Billy Elliot: The Musical. The long-running hit in London, currently in previews at the Imperial until it's mid-November opening, reportedly cost upwards of $20 million (the indie-flick clocked in at just $4 million), but has theater-goers champing at the bit. As Billy Elliot prepares to pirouette and tap his way across the stage to an Elton John score, the titular role has gone not to one tiny dancer, but three. And apparently the rotation that determines which of the Billies ticket-holders will draw is about as complicated as a mortgage-backed security.