Kinky Boots

They tell me that it’s almost 1000 days since this Society last performed on this stage, a production of “Kipps” due in 2020 and this show, originally planned for 2021, both necessarily postponed. But hands were not idle over this time and we soon saw the results of two years of work, principally on costumes. All but a few of nearly 3000 seats available over the six performances have been sold, proving that audiences as well as cast could scarcely wait to return to the theatre and making all that hard work worthwhile.     

This is a heart-warming show which had everybody on their feet at the end in rapturous applause in time with the final number delivered by the entire cast, all suitably booted. What is it about the show which has folk flocking to see it? It’s based on a true story, to begin with. It’s something of a parable too as it tells us of the need sometimes to abandon set methods and to seek alternatives. An old-established firm of shoemakers finds little demand for its usual product and moves to the manufacture of the footwear of the title – “out of the bad you can find something good”. A chance meeting with a drag queen turns the tide and we all learn something about diversity and the need to “accept someone for who they are”.

It’s unusual in a musical to have two male leads: Richard Hawley gave a sound performance as Charlie, who inherits the ailing factory on his father’s death. The part of Lola, aka Simon, is even more demanding and Chris Mooney adopted the style and characteristics of a drag queen with apparent ease. A reflective duet from Charlie and Simon (“Not my Father’s Son”) provides a rather poignant touch, which received just as warm a response from the audience as the more up-beat items in the rest of the show.  The music, expertly provided by a fine 10-piece band, is varied in style with a tango rhythm for “What a woman wants” and a country style piece (“Take what you’ve got”) for Harry, a discount shoe salesman, for which Dan Stanford was in fine voice.

Rob Hastings as Don, the rather bad-mannered and judgemental foreman of a workforce all somewhat cynical about the project, provided amusement in spite of his often inappropriate views. His ultimate conversion to the cause leads to the show’s satisfactory conclusion and he thoroughly deserved the cheer which accompanied his appearance in his own pair of the eponymous boots. Gavin Mills gave a good performance as the factory floor manager, looking puzzled for much of the time but proving to be the one whose brainwave provided the ultimate solution.  As for the ladies, Susannah Todd impressed as Nicola, the fiancée who, always preferring the bright lights of London to a life in Northampton, is eventually replaced in Charlie’s affections by his factory colleague, Lauren. Ruth Graham extracted much humour from that role and, despite a “history of wrong guys”, soon welcomes Charlie’s availability as more than a workmate.  Then there is Lola’s support group, “the Angels”, a superb sextet with appropriately stirring and provocative moves and, in the finale particularly, some stunning costumes. The programme lists only their stage names but well done Cha Cha, Mimi, Vixen, Mercedes, Ivana and Cher, whoever you might be!  They might have used more make-up than the average pharmacy sells in a week but the result was well worth it.

The whole production had pace, especially the opening number set on the factory floor, with busy movement to represent life in the work place. Even the tea trolley was there.  The stage crew worked hard with a bulky set whilst the Director, his assistant, Sophie Jamshidi and the Musical Director have all done a fine job in providing us with a wonderful evening.  As for Kipps, his re-arranged visit is in June – start saving sixpences now!

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