Not all of us may have what it takes to become pro dancers, but “Billy Elliot” suggests there is a little dancing queen (or king) in everyone. The new Broadway musical definitely emanates passion and ideals, thus creating a magical atmosphere that makes viewers want to put on their tutus and ballet shoes and fly on the feeling-inspiring stage. In spite of the fact that some may lack the talent of the play’s title character, who is the son of a working class coal miner in northern England, the appealing, tastefully constructed idea on which “Billy Elliot” is based, claims that each and every one has impulses and inclinations toward dancing.

The musical, which debuted on Thursday night at the Imperial Theater, not only explores the depths of humanity and its tendencies, but also analyzes the most deep-seated and durable charm of sound and movement.

“Billy Elliot” takes its outstanding power from its own capacity of combining effortlessly the shiny dreams of an 11-year-old boy and the cruel reality in which he is forced to linger. The battle between the inner force and the exterior one can be noticed in every stage element, from director Stephen Daldry’s exquisitely ingenious way of highlighting the conflict, to Peter Darling’s exceptional choreography, Ian MacNeil’s lithely touching sets and Rick Fisher’s darkness-spreading lighting.

And the story is engaging in its attempt to depict the road Billy takes in order to surpass his condition, risking to fall into the menacing traps of clichés. However, it’s uniqueness comes exactly from this type of naturalness and lack of pretension. Billy (impersonated by Trent Kowalik, Kiril Kulish and David Alvarez) is a young boy who lives only with his illiterate father (Gregory Jbara) and grandmother, played by Carole Shelley, since his mother has died.

Evidently, the spark of natural gift in Billy is pointed out by the unavoidable encouraging teacher going by the name of Mrs. Wilkinson (Haydn Gwynne). She discovers that the little one definitely has potential and decides to send him to London for an audition. Nevertheless, his dad and brother (Santino Fontana) disagree with Billy’s departure and, thus, the conflict begins to shape up.

By the end of the show, you will feel the little dancer hiding underneath more down-to-earth issues inside of you jump and dance as if he were a wind-blown leaf. And you’ll be able to feel childhood magic again, taste innocence and touch the wildest dreams.