Kinky Boots

I always look forward to the Carlton Operatic production every year and it was with some anticipation that I entered the Theatre Royal for the matinee performance of Kinky Boots and after a very warm welcome by the production team took my seat with the receptive audience and from the first bars of the Price and Son theme I could see, and hear, that I was in for another treat. 

The orchestra was led with a great deftness of touch by Chris Rees who also brought out the best in his talented cast in all vocal aspects, both solo and ensemble numbers alike, and achieved a superb balance between pit and stage throughout.  Rachael had clearly been working in detail with her cast of Factory Workers and Angels throughout rehearsals to ensure that the story was placed front and centre of the whole production with great diction, pathos, humour and sheer joy towards the conclusion.  Kristian’s choreography was very well judged to the cast’s strengths and the set was suitably industrial and flexible being superbly lit throughout by Tom Mowat.

Kinky Boots for me is first and foremost an ensemble driven production, with the success of the show very much dependent of the believability of the whole cast in depth and here Carlton had a wealth of riches on display.  Mark Coffey-Bainbridge as Charlie Price delivered one of his best performances in any show I have seen him in.  He brought out the vulnerability, drive and passion for his workforce and creation of the perfect boot to the fore without any over-the-top acting or solo work.  Cathy Hyde was also in great form as Lauren with her wide-eyed unexpected crush on Charlie. 

Steffi Moore tackled the challenging role of Lola/Simon sympathetically and demonstrated both the vulnerability and fight at the heart of the character. Cliff Hart as Don had another of the productions hardest roles to deliver.  Don can easily be played as a clichéd misogynist and Cliff judged his performance to a tee, bringing out both the hard edges and also the open mindedness of the character making him essential to every scene he was a part of.  Lizzie Fenner delivered the essential role of Nicola, the money driven partner of Charlie with great poise and again avoided Cliché to bring out the three dimensions of the character.

I must also congratulate Lola’s Angels – Louis Barnes-Cupid, Connor Gough, Mannie Gregg, Mason Hart, David Page and Sam Turpin.  The precision of the choreography they delivered on the incredibly large set items which I’m sure they could only have seen when they arrived on the lorries in show week, was something to behold and they never once let any of these dance challenges interfere with the sheer sass and snap of their delivery in incredibly Kinky Boots.

The ensemble brought great strength in depth to the production with energy, enthusiasm and a well-rounded understanding of their characters and so all played their part in driving the narrative forward.  Congratulations to Laura, Claire, Bara, Hannah, Daniella, Wendy, Adam, Poppy, Rebekah, Elliott, Ella, Sarah, Kelly, Patrick, Celine, Eva, Laura, Helen, Ray, James E, James B, Harley, Jacob and Beth. 

A great all-round production with sound, lighting, costume, orchestra and performers all coming together under expert direction to deliver a very enjoyable production.  Many Congratulations to all at Carlton and I look forward to Kipps in 2024

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