Kinky Boots – A Feel Good Show
As I wrote in 2013: Both Cyndi Lauper and Harvey Fierstein bring sincerity to a story whose message – be true to yourself, overcome prejudice, and look beyond stereotype – probably can’t be delivered too often. The situation, set in an economically challenged, British manufacturing town (like The Full Monty and Billy Elliott) is appealingly quirky, the music rhythmic if unmemorable, staging original, drag performance decidedly fun.
Based on a charming 2005 film, itself based on a true story, Kinky Boots finds Charlie (Christian Douglas), the young, straight-laced inheritor of a shoe factory, forming an unlikely partnership with a drag artist named Lola (Callum Francis), in an attempt to save the family business.
Callum Franicis and the Angels
Conjunction of tossed off advice by employee, Lauren (Danielle Hope – big, pop voice; cute comedic moments), “If you can’t change the situation, change the product,” and a comment made by the accidentally met-cute Lola, “I’d give my left tit for a good pair of boots,” elicits a Eureka moment: Price and Son will manufacture kinky boots that look feminine, but whose stiletto heels are strong enough to hold a man. Charlie’s fiancé Nicola (Brianna Stoute – able and underutilized) has other plans for life after marriage. This gives Lauren unexpected romantic hope.
When Lola (surprise!) appears at the facility, Charlie’s conservative male workers are derisive, while women welcome the flamboyant figure (and her back-up Angels) as fresh air. The Angels: Nick Drake, Ian Gallagher Fitzgerald, Kevin Smith Kirkwood, Marty Lauter, Ricky Schroeder, and Tarion Strong move like one joyful, energetic organism. What is it that really makes one a man – they sing. A topical question.
Christian Douglas
Charlie’s first effort at a boot is completely wrongheaded. He convinces Lola to become the new designer in anticipation of an industry show in Milan. She blossoms despite insecurity outside he realm, but faces bigotry lead by old school employee Don (Sean Steele) and deftly teaches him a lesson. At a point of high stress, Charlie’s own unconscious prejudices surface (with some surprising ugliness) threatening the success of their venture. Remorse and resolution take hold just in time, of course. The ending is exuberantly happy.
Christian Douglas has a big, warm tenor – the kind that’s applauded for just holding a note unfrayed – and boy next door looks. He does the most he can with material, registering emotion with subtlety.
Callum Francis who’s played Lola “on three continents across five countries” starts out rather like a cartoon, but segues into the character’s humanity and stays there with grace. He has a grand voice and moves with pizzazz. It’s this actor’s show.
Christian Douglas, Callum Francis and the Company
Harvey Fierstein’s funny, touching book grounds the piece. Cyndi Lauper’s music and lyrics are mostly pedestrian. There are at least three numbers that could successfully be cut by ten minutes.
Director/Choreographer Jerry Mitchell, who held the post on Broadway, remains stronger with choreography (creative and sexy) than characterization, though two-handers between Francis and Douglas are particularly engaging. A slow-mo boxing match works wonderfully and use of conveyor belts again stands out.
Set (David Rockwell), costumes (Gregg Barnes) and lighting (Kenneth Posner), are also handled by those responsible for Broadway’s iteration. Rockwell’s scenic design is evocative, well scaled and ripe for imaginative direction. Barnes’ costumes range from ugly tacky (yes, pretty tacky exists) to nifty. The boots are fabulous. Posner again does an excellent job.
Lola’s greeting is now, “Ladies, gentlemen, theys, them, and those who have yet to make up their minds.” Otherwise the piece is much as it was.
Photos by Matthew Murphy
Kinky Boots
Book-Harvey Fierstein
Music and Lyrics-Cyndi Lauper
Music Supervision, Arrangements, Orchestration- Stephen Oremus
Directed and Choreographed by Jerry Mitchell
Stage 42
422 West 42nd Street
