In many ways, Kinky Boots is already a classic of musical theatre. It is in its plot structure, a somewhat formulaic tale of a protagonist trying to save the ailing business he inherited from his father (and his employees’ livelihoods) while in the process also learning something crucial about himself. It is in the soundtrack, a non-jukebox collection by Cyndi Lauper containing a good number of memorable tunes. And it is in its visuals, particularly as far as the collective scenes are concerned, with a formidable closing number and, of course, the titular boots – obviously red – which have already become iconic in their own right. Yet, with the original film that the musical is based on coming out only in 2005, this is also very much a musical for our times. The issues it raises even through its joyful, lighthearted mood – both the social and the economic ones – are likely to be very familiar with most of its audience, and painfully relevant for a contemporary public, British or otherwise. Likewise, its tale of diversity and acceptance is one that is not only very relevant, but also extremely needed in the midst of the wave of transphobia that seems to be hitting the UK and elsewhere. The musical plays with stereotypes of masculinity, but also with the stereotypes associated with gender non-conformity, in a graceful and intelligent way, and its enormously likeable characters are a brilliant conduit for sparking a reflection in the audience in the middle of all the boisterous fun.
For these very reasons, Kinky Boots is very dear to me as a work, and has been since I caught its West End opening run in 2015. I must admit to a slight nervousness in approaching the tour production, as it was going to be no small task to match up to the incredible work of that original cast. I should not have worried, though, because the tour production maintained all the brilliance while leaving room for its performers’ unique voices. Joel Harper-Jackson lends Charlie a softer, easily endearing presence, even in, and perhaps especially, his more strident moments of doubt; Paula Lane is high-energy and wickedly funny as Lauren, clearly enjoying herself tremendously in what has to be the most amusing love song ever seen in a musical. Truly dominating the stage, though, is Kayi Ushe as Lola: a powerful stage presence supported by a stunning voice performance that eclipses everything else in almost every single scene. It is also worth mentioning the performances of Demitri Lampra as Don and Adam Price as George – the latter notable for the ability to deliver comic relief with a straight face. Naturally, the ensemble must be mentioned too, in a production that is at its best, and its loudest, in its moments of collective joy.
The audience certainly did take to the plot, the characters, and the humour – there were several bouts of honest laughing – and it is to be hoped that the message, too, came through loud and clear. If nothing else, Kinky Boots remains an excellent example of how a work of theatre can say some very important things without giving up its fun element, and of how having fun is a far better way of widening people’s perspectives than drily preaching to them.
Until August 3
https://www.wmc.org.uk/en/whats-on/2019/kinky-boots/