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"Billy Elliot," a huge crowd pleaser ever since it opened in London three years ago, is a tremendously original and inspired piece of work. But I have to say avid theatre-goers are likely to find it shares some common threads with a number of other favorite musicals.

There are shades of Rogers and Hammerstein's darker-themed shows like "Oklahoma;" it sounds like "Les Miserables" in spots, and in its wonderfully counter-pointed staging, it even resembles "Evita." Add the irresistible appeal of exceptionally talented performers – young and old – and "Billy Elliot" remains a thoroughly resounding success.

If you've seen the movie, you know the story. But the production team led by director Stephen Daldry, who also directed the film, took enough liberties to make the adaptation uniquely theatrical. They ingeniously weave the real-life events surrounding a crippling 1984 strike in a Northern England mining town with the tale of young Billy Elliot, an 11 year old who was born to dance.

Billy's working-class family, led by his hardened father, refuses to allow him to pursue his dream of auditioning for the Royal Ballet. His jaded dance teacher inspires him to carry on. It's a simple story told with great gusto and flair. The disparate elements, which may seem disjointed, tie together beautifully with richly textured characters, all echoing the show's theme – that everyone shines in their own special way, even cross-dressing adolescents.

Full of warm sentiment, "Billy Elliot" never seems overtly sentimental, even in the most heart-wrenching scenes. The production remains artfully engaging, though occasionally the accents may leave you lost in translation. And credit the creative team's ability to cultivate professionally-poised performances from the kids without the cloying precociousness that usually slips in at that age.

The tuneful score may be Elton John's best yet. Lee Hall who wrote the original screenplay contributed the book and lyrics, effectively adapting the story for the stage; Peter Darling's choreography is literally breathtaking.

As for the adults, bravo to each and every one. From Carole Shelly as the addled grandmother to Gregory Jbara's touchingly calibrated performance as Billy's dad and the fabulous Haydn Gwynne who created the role of Mrs. Wilkinson in London. But it's young Billy's show. Fourteen-year-old Kiril Kulish, who I saw, is an absolute dynamo on stage, dancing singing and acting with

When I saw the show in London, I loved it, but I was concerned it wouldn't translate to American audiences. Its creators have tweaked and tinkered enough to guarantee that "Billy Elliot" on Broadway continues to leap straight into your heart.