Kinky Boots

Joyous! A one-word review for RMTC’s production of Kinky Boots (The Musical) at the Majestic Theatre Retford. The high quality of the lead performances, the energy of its staging and commitment of the ensemble, the fetish-y worship of thigh-high boots, but mostly the fun everyone seemed to be having both on and off the stage.

Harvey Fierstein’s book closely follows the outline of the 2005 film. It remains the story of Charlie Price, who turns an ailing Northampton shoe factory into a roaring success by catering to a niche market: that of drag queens demanding thigh-high red boots that offer “two-and-a-half feet of irresistible tubular sex”. At the same time, we see how Lola, the project’s design consultant, overcomes the prejudices of Charlie and his co-workers to the sight of men in frocks. The exploration of diverse lifestyles and friendships, the journey to finding your own happiness, and allowing yourself to escape from your past, yet all ending happily at a Milan shoe fair where the collapsing business is glamorously rebooted.

I was reminded the story is based on real life Steve Pateman (Charlie Price in the story) who met me in the queue outside the theatre, complete in sexy red boots. He was promoting his new book and had supported this production by going to rehearsals and answering the cast’s questions and offering an insight into the characters in the show. He was friendly and charming and seemed to enjoy the show as much as I did.

The set was excellent, a gritty reality check to the feel-good story. This factory-based set employed movable, adaptable pieces which were manoeuvred by the cast to depict the factory floor, complete with a rolling production line, the gents, two different pubs, a London High Street, offices, a boxing ring, a care home, and a seedy London night club, a Milan runway and more. Liz Williams’s direction and Sue Benson’s choreography gave the show a physical dynamism that was as good as any West End show.

The musical score, by pop star Cyndi Lauper, although not that memorable, does have a few standout moments, including a lively, exciting opening number, ‘The Most Beautiful Thing in the World’, which sees this talented company set the scene for what’s to come.  The final all singing, all dancing, all high heeled boots number ‘Raise You UP’ /Just Be’ had the audience on its feet and left us all breathless.

The accomplished performer JJ Gill became the irrepressible Lola, who is a larger-than-life drag queen who is desperate for a pair of boots that are strong enough to take her weight on stiletto heels. On the surface, they seem unlikely pals, but Charlie (Jamie Savage) sees his chance, and together he and Lola design a new range of boots and set out to turn the future of Price & Sons around. Little do they realise though that they have more in common than they could ever have imagined.  JJ Gill blew me away with his characterisation, his singing voice, his cheeky, irreverent attitude, and ultimately the courageous lack of inhibitions and ultimate confidence to perform this unusual character. The duet ‘Not My Father’s Son’, bought tears to my eyes as the chemistry between them showed how much they had in common. Jamie’s strong confident performance throughout the show, topped by a singing superb singing voice was perfect casting.

Other stand-out performances for me were from Emma Wighton playing Lauren, the competent factory worker who has a crush on Charlie. Her main solo ‘The History of the Wrong Guys’ was amazing. The voice, the moves, the style! A true triple threat if ever I saw it, Emma was a confident dancer, has a massive vocal range and her characterisation of Lauren was excellent. The chemistry between her and the ensemble was believable, the relationship between her and Charlie was likable, and she drew my eye in every scene. A mention to the talented youngsters, Fraser Duffy playing the young Simon/Lola and Isaac Braithwaite playing the young Charlie, both sang and performed with confidence, wonderful. Tim Bates a member of the ensemble also played Richard Bailey and one of the hooligans that try to attack Lola.  Tim, you are an excellent performer, utilising good diction and excellent acting skill. Nicola (Jane Shelley) was also well portrayed, with skill and enthusiasm.

Martin Yates (musical director) and the band were enthusiastic and created a good sound.  The pace, the style, and musicality all brought the show up to the highest standard. The choreographer Sue Benson was challenged to create dance numbers for the Angels, as well as the rest of the show.  I mention the Angels in particular because I feel creating believable dance moves for men in heels, with the feel of a drag show, with huge energy, fast-paced dynamic music has its challenges.  Sue, I loved every move.  The confidence of your dancers, and the characterisation they were all able to bring to the routines were super.  The Angels (Oliver Ward, Clare Bowler, Grace Bowskill, Emily Cheyette, Michelle Noble, and James Kelly or should I say Erma God, Iona Bentley, Ivana Man, Krystelle Maes, Peach Snapz, and Summer Salt) were amazing, the dance routines, the sassy acting, the stunning costumes (supervised by Yvonne Smith) and the dynamic, over the top, diva makeup, (well done students from North Notts College) the amazing wigs but mostly the chemistry between you all and Lola with the confidence of your performances. You certainly know how to strut your stuff in heels, and all created the perfect drag queen personas with glamour and glitz aplenty. I loved you all.

The lighting enhanced the show, creating moody, colourful moments throughout the performance. Vinnie Hemmings, Tony Williams, Mike Pinkerton, and Stuart Noble.  I particularly enjoyed the splash effect during the Milan scene and the finale atmospheric dance number. The sound was of a good standard throughout, with the odd pick-up error, which I am sure smoothed out over the rest of the run. Adam Bright, Vaness Smith both achieved a good balance but might have been improved, at times, by better diction from the cast. (A minor point, but worth mentioning, microphone technique might be worth working on for future productions.) Publicity seemed to be working as you had an almost full house and I hope ticket sales for the final performances are also high, you deserve to have a full house and enthusiastic audiences. The colourful programme design was really good and demonstrated a belief in the show and the underlying messages. (Kinky Boots six-step program being a lovely touch.)

A final mention to the front-of-house team and the warm welcome I received from your President, Betty Teanby, and Vanessa Smith (Chair).  Thank you all for allowing me to visit you after the show and walk around the set and see the backstage area.  I’m always interested in finding out about you, the performers, it was so great to be enthusiastically welcomed and to hear how you thought the show went. You seem a supportive team and you deserve every accolade, enjoy the rest of the run.

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