KINKY BOOTS

Kinky Boots, with Music and Lyrics by Cyndi Lauper and Book by Harvey Fierstein is the musical based on the true story of Steve Pateman, who saved his family’s shoe factory, W.J.Brooks Ltd in Northamptonshire through an innovative solution by catering to a niche market – namely men wearing traditional women’s shoes (the forementioned ‘Kinky Boots’). This story of resilience and creativity laid the groundwork for the 2005 film of the same name, and then ultimately the award-winning Broadway musical.

It was great to be asked to cover this one, having not seen MTS for quite a while and also being a big fan of Kinky Boots as a musical too. I’m pleased to say that I really enjoyed your performance and had a great evening. You have asked for an extended review, so will add in more than we would normally provide. I’m also aware that you are keen for advice on how to develop and improve further, so I’ll add in some suggestions there too.

The set (which I suspect was hired in, though it does not say in the programme) was of a really good standard and construction, was well-used and fitted into the venue comfortably. There was a great combination of features - a great cloth for the factory background, a central tower which was in position for the majority of the show in various set-ups and various trucks wheeled on and off, from factory machinery to conveyors and a bed. It was great to be in a venue where the set can be flown in and out too, which was very well managed.

Scene changes were a real feature in this production to me and they were excellent in their speed and management through their completion by the cast. Really well done here – it was very impressive. Where the set allowed it, there was some nice imagination shown in the staging, particularly for the boxing scene which was handled very well.  Sometimes it felt like the scenes were set a long-way back and the stage and some parts could be set further forward. For example - in ‘The Most Beautiful Thing in the World’, some more separation between the factory scene and Nicola’s shoe display and the Bench would have helped with the story telling - though I don’t know if there was a technical reason as to why this was the case. Entrance and exits were via the stage wings, though there was also a really high-up Stage Right entry point with the ladder which worked well. You resisted the temptation to enter into or from the auditorium.

Properties were well managed and of good standard. The boot material swaps were very well handled during ‘Step One’ as the new boot was developed – skilfully done!

The lighting design and application worked well – it was subtle, slick, well-delivered and well-cued. There was some really nice use of colour, particularly the red in a number of scenes, that gave an impressive look.! really loved the effects used in ‘Hold Me In Your Heart’ too which really made the number, and an excellent effect with the haze was created throughout ‘The Corner’.  Some scenes, particularly the solos I felt needed a little more variety to help the actors with their story-telling. Both Acts finished with some up-beat catchy pop-rock songs – ‘Everybody Say Yeah’ and ‘Raise You Up’ and I felt these could have had even more impact with the audience, perhaps with some more of the disco ‘bump’ effects used in the Curtain call used here and the moving heads seen briefly in the cat-walk scene. This is just my opinion on what else you could have done to help get people out of their seats and dancing in the aisles as the show really deserved it. Overall, this was a really great job with the lighting.

The sound and balance between the principals and chorus vocals were generally very well-controlled. There were a few issues on the Thursday night (particularly with Nicola’s microphone) but these were well-managed when they happened – good work. Sound effects worked well too - in the right place and of the right type.

This is probably best point to mention the music, which was provided by backing track. There is of course nothing like a live band but there is also nothing quite like just how expensive they are too. Whilst noticeable to start with, I was able to get into its use and under the strong stewardship of Musical Director Liz Weager, who was successfully bringing people in one side and using a video screen on the other side. One of the advantages of a backing track is that it is easier for the Sound Technician to adjust the volume of the track to match the performers or other dynamics of the production. The volume did feel it could have gone up more in the really big numbers to help make the impact the production team were clearly looking for to push these scenes along. However, in summary the sound was very good.

The costumes were quite excellent and a real feature of the show too. I do not know if these were hired or owned, though I suspect a combination of both. There was a set of fantastic costumes for Lola which fitted him really well and looked terrific. The Angels too looked incredible across all six of them in a variety of styles both individual and matching. All of the costumes in the show were good – right through to the factory clothing overalls….and we haven’t even got the boots yet for everyone for the closing number. These were spectacular and made a great closing scene.  

Hair and Make-up were a real feature of the show too. Some great wigs, particularly for Lola and the Angels were well used. There was some terrific drag make-up for the Angels too which was the key to their transformation and believability. There was also some impressive make-up and remake-up for Lola as part of his transformation from Lola to Simon and back-again. Really well-done to the Costume, Hair and Make-Up Teams.

In reviewing the main principal performances, this show relies on the strength of the two leads and you certainly had two tremendous actors for Charlie and Lola…

• Charlie PriceT/his part glues the whole show together and it is vital that despite all that happens we remain on Charlie’s side, hope he saves the factory and that he gets the right girl too. Your stage charm and presence did all of this and you delivered the full range of emotions, from the witty one-liners through to the anger and frustration in trying to motivate the staff and the sadness of the desperate apology to Lola. On top of this, vocally this is a very demanding top tenor part which you also really delivered on it in all your numbers, particularly ‘Step One’ and ‘Soul of a Man’. This was an excellent performance.
• Lola / Simon. This was another excellent performance. This is an incredibly difficult role, but you really took it on and made it your own. You built the sharpness, the confidence and the vulnerability of the part into a believable character. Again, this is so demanding vocally too which you really made work, from the sassiness of ‘Sex is in the Heel’ and ‘What a Woman Wants’ through to the power ballad of ‘Hold Me In Your Heart’ and a really moving rendition of ‘I’m Not My Father’s Son’. You may not be the most natural mover, but it was evident just how hard you’d worked to make that part of the role yours too. Really well-done.
• Lauren. This was a lovely performance of a maturity well beyond your years. A subtler portrayal of Lauren than often seen but this really worked for you as a performer and you had the audience on your side immediately. This culminated in a really great performance of ‘The History of Wrong Guys’, which great fun and hilarious.
• Don.  You took us on Don’s journey from Charlie’s nemesis male chauvinist employee to his greatest advocate with a sense of anger and humour. This was very nicely done!
• Nicola. It’s never easy playing the ’girl-friend we all know isn’t right for the lead character’, but you acted it well and made it believable to the audience.
• The Angels. You were all quite incredible really! How these parts are performed is a particular challenge of this show, but you all more than met this, from your confident entry in ‘Land of Lola’ right through to your catwalk entry in ‘Raise You Up’. It was a great decision to use girls (and one boy of course) as the drag queens and it worked brilliantly. You all had the walk and mannerisms expected and executed it all, particularly in the Boxing match scene, so well.  Your choreography was all the more challenging as a result and you completed that superbly too. Really great performances from you all and one of the highlights of the show.
• George and Harry. A funny and charming portrayal as Foreman George. Really nice cameo too as Harry, making ‘Take What You Got’ a memorable performance in the show. Well done both.
• Pat and Trish Some good and entertaining portrayals of Supervisor Pat and Dom’s biggest fan, Trish.

The standard of the directing was very good overall, with some strong and believable characterisation from the main leads that is key to the success of the production. On occasion, some of the principals seemed a little static in their solos which affected the story telling but also seemed to make them a little uncomfortable (Lola in ‘Land of Lola’ and Charlie in ‘Soul of a Man’), which is perhaps something to consider more going forward.

The cast in the ensemble worked really hard as a group across their acting and their vocals.  There was lots of energy for ‘In The Corner’ and ‘Raise You Up / Just Be’ which the whole cast and the audience were able to feed off. Keeping such energy going got a whole show is difficult but something to strive towards. For example, more noise and interaction in the factory scenes, including ‘What a Women Wants’ and ‘Sex is in the Heel’ would have helped to enhance these scenes even further.

The Choreography was neat and tidy and well-within the capabilities of the Company, so was able to look effective on stage. You then were able to make the most of the Angels and their abilities as a troupe of dancers, which worked really well. You had a really good go with the co-ordinated movement with the Conveyors, which I’m sure you had very little time to practice with. All of your evident ‘wearing heels’ training did pay off as it was an impressive display at the end with the whole Company dancing on them. Very well done.

In summary, Kinky Boots was a great production and a really wonderful night-out. Thank you so much for the invitation. This is a very difficult show to put on and you really pulled it off as a team. I really wanted to see a bigger audience reaction to those big Act Finales as this is the type of up-lifting show where it can happen and your performance certainly deserved it. With a little more encouragement this may well be possible! Either way, thank you for showing me how this show can be put on and for inspired me to consider doing so! I wish you every success with your future productions!

 

PLEASE NOTE:

Any observation made by the reviewer can only be based on what he sees at the performance in question.  The reviewer may have received information in advance of the performance and it is inevitable that his assessment will be effected by that knowledge.

The N.O.D.A. Representative’s intention is to give an objective critique of the overall production and in particular the performance viewed.  It should be remembered that any review of this nature can only be objective as far as the techniques used during the performance observed.  Any criticisms expressed may not have been valid at other performances, and are only made to encourage higher standards in Amateur Theatre.

It is hoped that the audience’s appreciation of your efforts will have given everyone a lift and encouraged you to greater achievements in the future and that the observations made by the reviewer will prove helpful in improving future productions.

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