According to Cynthia Weber, ‘[d]ance is commonly thought of as liberating, transformative, empowering, transgressive, and even as dangerous’. Yet ballet as a masculine activity still remains a suspect phenomenon. This paper will challenge this claim in relation to Billy Elliot the Musical and its critical reception. The transformation of the visual representation of the human body on stage (from\ud an ephemeral existence to a timeless work of art) will be discussed and analysed vis-a-vis the text and sub-texts of Stephen Daldry’s direction and Peter Darling’s\ud choreography. The dynamics of working-class masculinity will be contextualised within the framework of the family, the older female, the community, the self and\ud the act of dancing itself
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