Aaron Ostroff Magee, 14, makes a remarkable and stunning stage debut as a leaping wizard of ballet in “Billy Elliot the Musical,” the theatrical hit that tackles familial and work-related conflicts, emotions, ethics and choices.

Set amid heartbreaking and challenging times in a coal-mining British town in the mid-1980s, the musical is a star-making turn for Ostroff, a budding ballet dancer who had to learn to tap dance, act and sing. He’s tackled the dancer-actor elements but is a skosh pitchy as a vocalist, but the slight imperfections suit his character’s persona — a youth earning stripes and moving up on the learning curve.

For the show’s Hawaii premiere at Diamond Head Theatre, Magee literally and figuratively has to be on his toes, or en pointe, carrying the burden of being the outright Billy — no double casting, a common practice when kids take stage leads — for the entire run. He has two understudies prepared for an unlikely emergency if Ostroff can’t do the part. He also goes aerial in a dream-sequence ballet with Older Billy (a calming David James Bachelor).

The hard-times tale becomes a mashup of pain and frustration among divisive coal miners, who call a strike in a blue-collar community in Court Durham, in Northern England. Billy, 11, has his share of strife: His mother has died; his gruff dad (a frosty-with-heart LeGrand Lawrence) sends him to boxing lessons but he encounters a girls ballet class and becomes a pupil, too, encouraged by his random but supportive dance teacher, Mrs. Wilkerson (an inspiring Ahnya Chang, who’s also a great hoofer), who becomes a surrogate mum and confidante, to shuck the gloves in favor of ballet slippers.

The tale, based on A.J. Cronin’s 1935 novel, “The Stars Look Down,” was brilliantly adapted by Lee Hall for the screen in 2000, directed by Stephen Daldry, who subsequently shaped it in 2005 for the London theater; the show opened on Broadway in 2008, where it won 10 Tony Awards, including Best Musical, in 2009.

This empathically is one of those high-stakes accounts, where struggles in life affect family and work, focusing on the preteen dancer wannabe, trapped in a strike where tempers flare and dreams are dashed — amid the perceived villainy of union-breaking Prime Minister Margaret Thatcher, aka the Iron Lady. (Watch for the mockery).

Billy embodies hope, affected by the hardship of his family’s misfortunes, and Mrs. Wilkerson is his angel, intent on sending Billy to a London audition with the Royal Ballet. The townsfolk unite and contribute to fund the trip.

The show evokes tears, laughter, heartbreak and hope, and scene-stealers abound, notably a daffy but doting Grandma (the splendid Lisa Konove, at career best), who removes her nightgown to strut in a bejeweled dress on “We’d Go Dancing.” And Michael (an adorable Matias Durkin on opening night, but Andrew Bell shares the role), who dresses in his sister’s clothes, has a dandy moment with best buddy Billy, complete with oversized dancing dresses and pants, on “Expressing Yourself.” Heaven-sent Mum (a loving Mary Chestnut Hicks, not your usual ghost) makes fantasy seem real, conversing and speaking with Billy on “Dear Billy.” A manly older brother of Billy’s, Tony (an outspoken Chance Ingalls), reflects the macho pride of the blue collar culture on “He Could Go or He Could Shine,” with Dad, in the crossroads of hapless trapped lives.

While the show never produced a single hit song, Sir Elton John’s music captures elements of the British culture — soul, folk, frustration, and confrontation — to help shape the hues of this quilt of life.

Director John Rampage (also, co-choreographer with Caryn Yee) has assembled and shaped this show like a general on the battleground. On all fronts — Brit accents, sets, lights, costume, sound, music — this is an unequivocal triumph of accomplishment and artistry.