EAST HADDAM — The splendid Goodspeed Opera House has a vibrant production of Billy Elliot, with book and lyrics by Lee Hall and music by Elton John, on its stage. Under the original direction of Stephen Daldry, the families of County Durham, England are rendered with authenticity, sentiment, and humor in this compelling story.

During the Thatcher years, England’s unions were diminished, and the families who were dependent on their protection suffered, none more than the miners of County Durham. Their story is told through the lens of the families who live there. The miners portrayed here are a tough bunch who struggle to keep their families fed while they strike for better conditions and wages. In their midst is the Elliot family.

Traumatized by the death of Mrs Elliot, the grieving Dad (played by Sean Hayden) raises his very different sons, Tony (Gabriel Sidney Brown) and Billy (Liam Vincent Hutt), as best he can. He also cares for his aging and mildly senile mother (Barbara Marineau).

Tony is deeply committed to the strikers cause and willing to take a punch to promote it. Eleven-year-old Billy discovers ballet, an interest unheard of for a boy in these macho environs. Billy’s best friend, Michael (Jon Martens), shares his own gender-bending practices with Billy, which is reassuring and encouraging.

Dad and Tony, on the other hand, are appalled, angered, and disturbed by Billy’s passion for the perceived feminine art form. His deceased mother (Rachel Rhodes-Devey) seeks out Billy and comforts him.

Believing in his potential, local dance teacher Mrs Wilkinson (Michele Arevena) takes Billy under her wing, defying Dad as she prepares Billy to join the Royal Ballet. Her vision of the dancer Billy could become is played by Nick Silverio.

Each act begins before the lights go up, as actors mill around the set, purportedly socializing in their natural habitat. This appeared slightly awkward for the performers.

The beginning of the second act was a bashing of Margaret Thatcher, complete with a massive, unforgiving rendering of the Prime Minister, which was operated by what appeared to be human marionettes. This seemed to jarringly contrast with the spare conditions under which the miners lived. The accompanying music was more than sufficient to convey the townsfolk’s anger and frustration.

Each performer in this wonderful cast, including every member of the ensemble, is thoroughly dynamic and engaging. Venturing into the audience before the show began, and on several occasions thereafter, they treat the audience to a closer look at their commitment and skill level.

Sassy dance teacher Mrs Wilkenson is spectacularly portrayed by Michelle Aravena, as she hits just the right notes between pushy and compassionate.

Barbara Marineau’s Grandma is precious as she takes in the gravity of their situation. Just watch her face as her son sings “Deep into the Ground.” Ms Marineau’s comedic skills are also on vivid display as Grandma deals with the events in her home.

The heavenly mom, played by Rachel Rhodes-Devey has vocal skills to match. She sings like an angel.

The absolute charm and spunk of Jon Marten’s Michael is irresistible. He is a triple threat with superb dance, singing, and acting skills.

In the eponymous role of Billy, Liam Vincent Hutt is a bundle of nerves and energy that he lets loose with stunning physicality. He fully draws a character with passion, yet respect and compassion. His dance numbers are a rage of frustration and conflict. As his older self appears, young Billy gives himself over completely to his inevitable destiny.

Nick Silverio is lovely in his role as the mature dancer. Without words, his movement conveys his connection to his younger self.

Choreographer Marc Kimelman is to be commended for his superb work on this small stage. The movements for the larger ensemble number were tightly woven, enhancing the tension in the atmosphere. The childlike quality of the numbers created for the children were perfection, as were Billy’s solo performances.

Opening and closing the play with the ascent and descent of the miners in a large elevator was gripping. The claustrophobic nature of their lives was captured in those moments.

This is an excellent production of a musical for all time.

Performances continue through November 24, with curtains each Wednesday through Sunday evening; matinees are planned for Wednesday, Thursday, Saturday, and Sunday afternoons. The show has a running time of 2 hours, 50 minutes, including a 15-minute intermission.

Parents should note the play has an age rating of PG-13 “for mature themes, harsh language, and some violence.” On its website, Goodspeed notes that “due to the authors’ need to honestly portray the tough people of the Northern England mining community where our story takes place, as well as the extremely hard times they are going through, the published version of this script, which we have licensed, contains some harsh language, including some profanity.”

For the full schedule, ticket details, reservations and other information, visit goodspeed.org. The box office can also be reached at 860-873-8668.