Nov. 14 (Bloomberg) -- A show's claim to offer ``something for everyone'' usually signals disaster: the lowest common denominator and the antithesis of art. Well, for once, the exception proves true: ``Billy Elliot'' -- London's long-running hit with Elton John's music, finally replicated on Broadway -- really does have something for everyone, and that something is, gloriously, art.

This is the now familiar tale of Billy, an 11-year-old coal miner's son in a small northern English town, who doesn't enjoy his boxing lessons and stumbles on Mrs. Wilkinson's ballet class. Billy's mum has long been dead, and his dad Jackie and older brother Tony are deeply involved in a yearlong strike against Prime Minister Margaret Thatcher, who opposed state-owned industry and was determined to crush the unions.

Against a background of violent confrontations between police and miners, and his family's and the entire mining community's strong disapproval of ballet for boys, Billy proves a natural dancer recognized by Mrs. Wilkinson, who gives him private lessons on the sly. Even Billy's best friend, saucy Michael, who enjoys cross-dressing and even cavorts in a tutu, has doubts about Mrs. Wilkinson's plan to prepare Billy for admission to the Royal Ballet School.

Dazzling Dances

The story unfolds with drama and humor, exciting and tender moments. Expertly staged by Stephen Daldry (who also directed the 2000 film), it is dazzlingly choreographed by Peter Darling in some breathtaking dance sequences of various genres, from classical ballet to contemporary forms. There is domestic comedy largely centered on dotty Grandma, and strife with father and brother in counterpoint with their clashes with the cops.

There is a delicate touch of pathos involving Billy's mum, who proffers loving guidance from beyond the grave. There is hard-driving, no-nonsense but basically goodhearted Mrs. Wilkinson, and her tough-talking daughter Debbie, who has a bit of a crush on Billy and encourages him when others declare male dancers ``puffs.''

``What about Rudolph Nureyev?'' she adverts. ``He's not a puff.''

Dad contradicts: ``He's as bent as a nine-bob note, son.''

Sir Elton's Songs

There are mostly rousing but occasionally jolly Elton John songs, with simple but apposite lyrics by Lee Hall, who also wrote the book. They are well sung by a top-notch ensemble even whose bit players are bursting with life and valiantly supported by an orchestra ably conducted by David Chase. All manner of delightful children flood the stage. And then, amazingly, there is Billy.

Three boys alternate in that arduous role. I caught David Alvarez, a riveting prodigy: actor, singer, fabulous ballet and tap dancer (note his double tours) and spectacular acrobat. He combines skills few adults could match, and sustains them throughout a long and demanding evening. I trust that Trent Kowalik and Kiril Kulish are no slouches, either.

As Dad, Gregory Jbara engrossingly manages the difficult transition from stereotypical roughness to Billy's loving advocate, as admirable in facial expression as in body movement, and as robust in utterance as controlled in song. Haydn Gwynne, as Mrs. Wilkinson, the sole import from the British cast, gives a rollicking performance, rich also in understatement and suggestion, the very embodiment of tough love. Santino Fontana turns Billy's older brother Tony into an emotionally complex whirlwind, with Carole Shelley a Grandma as feisty as she is funny.

Comic Relief

Joel Hatch is a comically blustery boxing teacher; roly-poly Thommie Retter a nimble riot when he does ballet. Stephen Hanna is a fine premier danseur as the future Billy, in a fantasy pas de deux with the present one, and little Erin Whyland is as tart and droll as can be as Debbie. In her too-brief appearances as Mum, Leah Hocking is all the more moving for superbly underplaying the role.

As one of two alternating Michaels, young Frank Dolce won me over completely with a comedic sense that would do credit to the most experienced adult comedian.

Ian MacNeil's scenery performs wonders of versatility and mobility, no less vertical than horizontal; Nicky Gillibrand's costumes are always apt and often hilarious and Rick Fisher's lighting never runs out of surprises.

But the best and biggest surprise is the way the cast, under Daldry's direction, never makes the slightest false step, balletic, histrionic or emotional.

At the Imperial Theatre, 249 W. 45th St. Information: +1- 212-239-6200; http://www.telecharge.com.

(John Simon is the New York drama critic for Bloomberg News. The opinions expressed are his own.)

To contact the writer of this column: John Simon in New York at jis1925@aol.com.

Last Updated: November 13, 2008 23:00 EST