WHOEVER dreamed up the title Kinky Boots and those provocative thigh-length sparkling platform-soled stiletto-heeled red boots for the publicity material deserves a medal from the producers of this show.
There can be few more attention- grabbing titles and images around than that combination, but while they do their job in encouraging potential audiences into the theatre they also to a certain extent do the show a disservice. There is a great deal more to this show than just a flashy titalting story of a Drag Queen coming to the rescue of a failing old-fashioned shoe factory by designing a new range of boots aimed at the drag market, and then displaying them to advantage in “her” act.
The big numbers featuring Kayi Ushe, bubbling with personality and a great deal of vocal and dance talent, as drag performer Lola, backed by six of the best chorus “girls”“ you will find in many a long day, are terrific. As he shows when given the chance to display his solo vocal talent in the dramatic Hold Me in Your Heart and handling of comic and dramatic dialogue, there is much more to Kayi Ushe than glitzy costumes and makeup.
His love hate relationship with the fundamentally straight-laced Charlie Price, who has inherited the ailing shoe factory, and the skeptical workers (particularly the bullying Don,) opens up a telling discourse on accepting people as they are, rather than pigeon-holing them within personal prejudices.
Despite sometimes having to lurch a little too quickly from high drama to broad comedy, Joel Harper Jackson as Charlie Price makes a good job of showing the battling emotions of trying to maintain old values at the same time bringing in new ideas. No mean vocalist, Joel underlines these emotions in his big solo number Soul of a Man.
Helen Ternent and Paula Lane have to live off scraps, and do very well on them, to create the two women in Charlie’s life, Helen driven by pure ambition and Lauren ready to back him regardless through thick and thin.
Demitri Lampra, a surprising subtle bullying Don, and Adam Price, adding some nice comedy touches to the old world factory foreman George, led the workers, well manoeuvered by director/choreographer Jerry Mitchell and also supplying a strong singing ensemble. Matching the ensemble in verve and vitality, occasionally just a little too enthusiastic, are Patrick Hurley and the orchestra, in a production that is good to look at and listen too and sometimes also thought provoking.
GRP
Footnote. The tour continues at Southampton Mayflower from 3rd to 14th September.