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He never told his fellow soldiers his background — not out of fear of how it would be received, he said, but, much like Mr.Kowalik, because he sought the luxury of being unknown.“I always wondered what it would have been like growing up going to a normal public school,” he said.Ten years ago this June, they walked up together onto the Radio City Musical Hall stage to receive the Tony Award for best performance by a leading actor in a musical, the first trio ever to do so.
By now, this had become a very David Alvarez thing to do.“I wish I could be more like that,” Mr. But the thing about taking a break from life is that you can’t. He even performed in the production for a few months.
In Act II, alone and downhearted after a Christmas party, Billy begins dancing to “Swan Lake,” in the musical’s dream ballet. He was still young, 22 at the time, but he was now Older Billy, a Billy who had hit some dead ends, who had endured the dislocations of adulthood, who had, as Mr.
Now he is all easy smiles and Eastern philosophy.“Whatever happens,” he said, “is going to happen.”“Are you saying the future is predetermined? Though the youngest of the three, he was a veteran Billy before the musical even opened in New York, having played the role in London, and he stayed on Broadway the longest.
Back to dance school afterward, then high school, then Princeton University, where he majored in philosophy and earned a certificate in dance.
He is joined in the dance by Older Billy, his vision of the dancer he would become. Alvarez put it, “gone AWOL” so he could figure out who he really was.
He would soon leave the production and return to his wanderings in Mexico for some months before going off to college.
From left, David Alvarez, Kiril Kulish and Trent Kowalik accepted the award for best performance by a leading actor in a musical for “Billy Elliot, The Musical” at the 2009 Tony Awards at Radio City Music Hall; The Billys today. — 11 years ago that I met the Billys Elliot, all of us gathered in the fluorescent delirium of Dave & Buster’s in Times Square.
They ate pizza and drank milkshakes, because that is how old they were, three kids unknown to Broadway at that point, the last boys standing from a nationwide culling of young dancers. Trent Kowalik, 13, Kiril Kulish, 14, and David Alvarez, 13, would shoulder “Billy Elliot: The Musical,” an .5 million Broadway production about an aspiring ballet dancer growing up in English coal country in the Thatcher era.
His senior dance thesis project was inspired by his “work on backward time travel and decision theory.”It was all work at the very highest levels.
But who was he doing it During the Broadway run of “Billy Elliot,” Mr. “I found myself constantly listening to music,” he said.