Kinky Boots

Kinky Boots is based on a 2005 British film of the same name. Flamboyant playwright Harvey Fierstein has written a story of death, differences, loyalty, choices and ultimately hope.

This tale highlights prejudice in a small town in England, home to a shoe factory that is on the brink of financial collapse.

After the passing of his father, son Charlie Price (Ian Andrew), must decide whether to sell or find the potential in the old shoe factory that his father has bequeathed him. A chance meeting with a transvestite cabaret artist, Lola/Simon (Ron Abelita) helps him find his niche in the competitive shoe market and so begins a journey that is full of heart and sole…pun intended!

Eighties pop-queen Cyndi Lauper wrote the score for this musical. I am a huge fan of her back-catalogue and I wanted to be blown away by her collection of showstoppers. Some numbers such as “Not my Father’s Son” were poignant and “Everybody Say Yeah” will have you tapping your toes at the end of Act One, but the overall score fell short for me.

It is fortuitous that, in this production, director Gordon Coombes has assembled an enthusiastic cast to breathe life into the songs. It must be said there are still plenty of highlights.

Sublime performances are offered up by Andrew and Albelita. Both clearly have a real affection for each-other’s characters; this chemistry worked well in the quieter moments of the show, when personalities were laid bare. Blessed with a great range vocally, the strength of the show is in safe hands with both leading men.

A highlight is Lola’s cabaret collective, ‘The Angels’, a bunch of pretty boys with short skirts who spend the whole show twisting and twerking across the stage in six-inch heels. They are a fabulous distraction from the dull brick walls of the shoe factory.

Jemma McCulloch is hilarious in her portrayal of lovelorn factory worker Lauren. Her excellent comic physicality and strong vocals meant that my favourite number of the show, “The History of Wrong Guys”, was a highlight and left the audience in hysterics.

Fierstein writes with a quick wit, so the ensemble have many hilarious one-liners to work with and they milk the script perfectly.

A skilled bunch of musicians are led by musical directors Paul Sinkinson and Peter Johns. My only gripe was that some vocals were drowned out by the volume of the band and lack of acoustics in the theatre.

G&S always put on close to professional shows and while this musical itself did not live up to the hype for me, I had an entertaining evening watching a talented ensemble of performers.

Kerry Cooper