Michelle Aravena, right, plays Mrs. Wilkinson, the ballet teacher of Billy, played by Neo Del Corral, center, in “Billy Elliot: The Musical” at Paramount Theatre in Aurora. (Credit: Liz Lauren)

I caught the Paramount Theatre’s unforgettable production of “Billy Elliot, The Musical” with a terrific book and lyrics by Lee Hall, and 16 ideally dramatic and character-defining songs by Elton John, when it first opened in mid-February.

And it has continued to dance in my head every single day since then, although a totally distracting month of ear-piercing drilling and hammering in a pipe/riser project in my building made writing all but impossible.

So, better late than never, I will get straight to the point: The run of this grand-scale Paramount production ends on March 24 and, if at all possible, I urge you to try and catch what is one of the most superb shows I’ve seen this season. (If you don’t live nearby, it is well worth the trip to Aurora that generally takes less than an hour by car from downtown Chicago.)

Set in the mid-1980s, in a coal-mining town in Northeast England, the musical captures the anger and determination of the workers in that community who have gone out on strike at a time when the future of the coal mining industry was in serious peril. Most notably, the show, with its grand-scale cast, not only taps into the rage of the macho laborers, but at the same time follows the sudden and unexpected passion for ballet that grabs hold of Billy, the young son of one of the miners.

And, not surprisingly, neither Billy’s father, nor his older brother — both of whom work in the mines — approve of this passion. 

Billy is superbly played by Neo Del Corral, a remarkably multi-talented 12-year-old. (Alternating in the role of Billy is another 12-year-old, Sam Duncan.) Another winning turn comes by way of the mischievous young actor Gabriel Lafazan, who plays Michael Caffrey, Billy’s ideally sassy and sardonic friend.

Capturing the anger and determination of the miners is Billy’s father (played by Ron E. Rains), his older brother, Tony (Spencer Davis Milford), and their fellow workers, all of whom are being closely watched by the police. 

Meanwhile, Billy, who has no interest in his boxing class, watches as the same room shifts into a ballet studio in which eight young girls are being taught by Mrs. Wilkinson (Michelle Aravena). Billy is hesitant to join the class, yet is clearly beguiled by it. And before long, sensing his talent, his teacher suggests he tries out for the Royal Ballet School in London.

Not surprisingly, this idea does not sit at all well with Billy’s father, although he eventually agrees to take the boy for an audition. And in a wonderfully troubled finale (the details of which I will not describe here), Billy heads off to London, letting everyone know that, to borrow a song title, dancing generates a certain “Electricity” in him. And so it does in the audience.

Jennie Sophia, left, plays Billy’s Mum and Neo Del Corral plays Billy in “Billy Elliot: The Musical,” playing at Paramount Theatre in Aurora. (Credit: Liz Lauren)

Trent Stork’s expert direction of the show, along with Isaiah Silvia-Chandley’s spirited choreography, and the outstanding musical direction of conductor Kory Danielson, are impeccable. So is Michelle Lilly’s set design, which captures both the muscular world of the miners, Billy’s home, and other sites.

And it should be noted that all of the show’s supporting actors are ideal.

Before ending this review, I must also confess another reason why “Billy Elliot” grabs hold of me with such intensity. At the age of 8, while taking ballet lessons at the old Metropolitan Opera House in New York, the Royal Ballet visited the city with its production of “The Sleeping Beauty” that starred Margot Fonteyn. I was chosen to play a little page boy, and there is only one word that perfectly captures that experience to this day: Electricity.

“Billy Elliot” runs through March 24 at the Paramount Theatre, 23 East Galena Boulevard, Aurora. For tickets visit paramountaurora.com or phone 630-896-6666.

Follow Hedy Weiss on Twitter: @HedyWeissCritic