Kinky Boots

On the final night of Londonderry musical Societies Kinky Boots, the foyer of the Millenium Forum buzzed with excitement in the anticipation of what lay ahead.        

Director, Alan McClarty, himself a former Lola, brought both insight and experience to the production. With a clear vision and a fresh sense of pace, he shifted the show into a higher gear, delivering a production that was vibrant, emotionally charged, and full of heart. Alan balanced spectacle with sincerity, guiding the cast to create a performance that was genuinely moving and thought-provoking, highlighting the themes of acceptance and individuality that lie at the very heart of the show.                                                            

Musical director Peter Doherty didn’t miss a beat, steering the orchestra and cast with style and precision. The band was beautifully balanced throughout, never overpowering the performers, allowing the vibrant, uplifting score to sparkle with real moments of magic. The company vocals were clearly drilled, delivering tight harmonies onstage, good backstage singing and confident solos. Seeing the production on the final night, there were moments where fatigue perhaps had crept in a little with some of the vocal ranges feeling a little less powerful, but that in no way spoiled the overall enjoyment of the show.                                                                                                                                    

Choreographer Venessa Chapman served up routines bursting with personality and flair. With a score that dips into so many musical styles, the cast truly worked their boots off and then some. Special mention must go to the Angels, who strutted their stuff in fierce drag, sashaying across the stage in towering heels like they’d been born in them. Confidence, glamour and just the right amount of cheek.                                                       

The set, hired from Scenic Projects, provided a strong and versatile visual backdrop for the production. Clever lighting contrasts captured the bleak, industrial feel of the factory floor before bursting into vibrant colour at just the right moments. The cast were also consistently well lit, with an expertly operated follow spot. Sound levels were well balanced throughout, with sound effects that were both appropriate and well timed. Kinky Boots comes with a truly enormous props list, from shoe boxes and boot-making equipment to countless other smaller details, and these were all impressively sourced and accurate to the period. The stage management team kept everything running like clockwork, their impeccable timing ensured the production flowed seamlessly from start to finish. Hair, wigs and makeup were good and costumes, hired from Utopia, looked fantastic, were fitted well and were worn with confidence across the entire cast. Lola and the drag queens, of course, dazzled in every outfit they stepped out in. Huge credit must go to the costume team, who overcame a last-minute delivery delay, yet still managed to give the meticulous attention and fitting required for each pair of those iconic kinky boots, their achievement deserves an extra round of applause.

Lola/Simon, William McFadden was born to play this iconic role. This marks William’s second outing as Lola, and once again he did not disappoint. He quite literally lit up the stage every time he appeared, and what a voice! His elegant movements were effortlessly graceful, his line delivery deliciously cheeky, delivered with all the confidence and flair expected from a seasoned drag artist. The audience were behind him every step of the way as he took us on a journey from the dazzling, confident drag queen to the vulnerable young man beneath the heels. It was a believable performance.

Charlie Price, played by Luke De Belder, portrayal was steady and assured, providing an anchor that helped hold the show together. It was another highly believable performance, with a great voice and strong stage presence throughout. His excellent chemistry with Lola, Nicola, Lauren and the factory workers ensured that the relationships felt genuine and engaging from start to finish.

Lauren, played by Caitlyn Kelly, delivered the goofy, lovestruck silliness that defines the character with great skill. Her comic timing was well received, complemented by a strong vocal performance and a consistently interpretation throughout.

Nicola, portrayed by Orfhlaith McGee, delivered a solid and dependable performance, bringing clear characterisation and a confident stage presence.

David Keown (George) was a joy to watch, he made this role his own, wringing every laugh with effortless comic timing. Adam Goudy (Don), brought convincing menace to the role of the factory’s resident bully, adding an edge to the dynamics on the factory floor.

The audience went crazy whenever the Angels hit the stage (Chamberlain, Mathew, Gary, Niamh, Grace and Simon) with every appearance the temperature in the room seemed to rise a few degrees. Their numbers exploded with fierce attitude, sass and unstoppable energy. Lorraine Roddy (Pat) and Natalie Armstrong (Trish)  clearly relished every moment in the factory delivering just the right amount of attitude, with great vocals and good comedy moments.

Special mention must also go to Harry Scott Hawthorn (Harry), Brendan Brady (Mr Price Senior) Richard Duddy (Richard Bailey), Amy Astbury (Marge), Christine Baggley (Stage Manager Milan), Daniel Moynihan (Young Charlie), Noah Givern (Young Lola), and Donald Hill (Simon Senior). Each played a vital role in making the production a resounding success.

Of course, a company is nothing without its ensemble, and this hardworking group delivered in every respect. They gave this musical their all, while also working seamlessly in the background to ensure that static scenes never felt overcrowded or distracting from the unfolding story. Their energy during the musical numbers was infectious and added greatly to the overall impact of the production

Londonderry Musical Society’s production of Kinky Boots unfolded as a gentle slow burn, taking time to establish its story and characters. The pace lifted beautifully with the arrival of Lola and her Angels, bringing a vibrant burst of energy and colour. What followed was an uplifting and lively production, full of heart, sharing a thoughtful and very relevant message about accepting people just as they are. 

Many thanks to Londonderry Musical Society for such a lovely welcome and for the kind invitation to see their production of Kinky Boots, I look forward to seeing what this talented company do next.

The views in this report are solely of the author.

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