Kinky Boots

Kinky Boots is a show that asks for heart, humour, honesty and a fearless sense of joy, and Spennymoor Stage & Song rose to that challenge with a production that felt magical from the outset. This award-winning musical, with music and lyrics by Cyndi Lauper and book by Harvey Fierstein, tells the story of Charlie Price, who finds an unexpected way to save his family’s shoe factory through an unlikely partnership with Lola, a vibrant and inspirational drag performer. In the hands of the talented Liam Etherington as director, the story was delivered with warmth, colour and conviction, creating an evening that was both hugely entertaining and genuinely uplifting.

What made this performance especially memorable was the way it connected so clearly with its audience. There were audible reactions throughout: laughter landed naturally, moments of tenderness were met with attentive stillness, and the more triumphant scenes brought a real sense of shared excitement in the hall. By the finale, there was that unmistakable feeling of a room lifted together by what it had seen and heard, and the natural standing ovation spoke for itself. That kind of response cannot be manufactured; it is earned through commitment, belief and the ability of a cast to bring their audience fully along with them.

This is a musical that depends on strong ensemble work as much as individual characterisation, and that collective spirit was very much in evidence here. The production team of Liam Etherington, Jill Jackson as MD, and joint choreographers Ann-Marie Clayton and Stacey Thompson are well and truly tried and tested, working together beautifully to deliver.  The ensemble captured both the grit of the factory setting and the dazzling Angels were superb, showing the theatricality of Lola’s world, allowing the contrasts within the piece to work to full effect. The pacing kept the story moving well, musical numbers brought energy and flair, scene changing by the cast was slick and well-rehearsed under the watchful eye of stage manager Dave Jackson, and the production embraced the show’s emotional core rather than treating it as spectacle alone. Lighting effects were superb and very much in the style of Mark Turner of Brightstar Light and Sound, whose work I’m very much a fan of, with sound by Duncan Baxter of East Durham audio who always goes the extra mile, and Spectrum Special Effects. Scenery was designed and constructed by Eric Hickson and Liam Etherington and was a bespoke multi levelled staging, giving plenty of individual spaces for the scenes to take place, and a large space with a thrust to provide a large playing area and of course a catwalk for Milan!  I loved the additional detailing, like the proscenium arch and orchestra pit being wrapped in the brick wall of the piece.  The orchestra under the watchful eye of Jill Jackson were excellent, levelled well and seemingly having fun throughout which is always a bonus!

This is a strong company with multi-talented members, but it was lovely to see some new faces also, indicating Spennymoor Stage & Song’s growth.  Michael Brabbs is a consistently strong multi-talented performer, and it was lovely seeing him reprise the role of Charlie with a new group.  His voice is beautiful and he has an ability to bond well with performers he shares the stage with.  He shone and let Charlie’s character arc reflect beautifully on stage. “The Soul of a Man” was a really moving piece, I loved it.  Liam Goodman as Lola/Simon is a new performer to me, and they shone on stage. “Not My Fathers son” was so heartfelt, my entire row was wiping away tears – we felt the performance as well as heard it, which can be difficult for some performers to master.  “Hold me in your Heart” was similar, you could hear a pin drop, Liam had us all captivated and we trubly believed what we were seeing.  This was stunning.  Further, as Lola, their flamboyance and energy were infectious with incredible sass, especially during “Sex is in the Heel”.  Faye Rogerson played a wonderful Nicola, the ambitious fiancée of Charlie and antagonist, with Heather Whitfield being provided an opportunity to showcase her incredible voice and comedic talent as Lauren with “History of the Wrong Guys” being a real notable piece.  Craig Daley as Don, possibly the character with the biggest arc in the piece did well as the stuck in his ways hard man who learns about the beauty of acceptance, Robyn Watson shining as Pat, one of the factory workers, who shares a fun relationship with Lola, and Helen Pryce as Trish delivering dialogue clearly with fabulous diction.  Ian Patterson was a fantastic George, providing just the right level of character enhancement to uplift the piece without taking from the main energy, being a calm, no nonsense guide for Charlie as he adapts to his new career he didn’t necessarily ask for from his father Mr Price played beautifully by Dan Riches.  Louis Sample as Harry was clear and concide and I loved the earrings in the finale!  Young Lola played by Jonah Raynard and Young Charlie played by Samuel Angstmann were a delight, cantankerous and professional beyond their years on stage, well done to you both!  Kieran Watson managed his often seen appearance, this time as Richard Bailey the slick estate agent and Louise Defty appeared as a fabulous Milan Stage Manager with a brilliant characterisation (the French potentially needs work but the Italian was fantastic! IYKYK).

However, the Angels. Wow. Supporting Lola beautifully were Stacey Thompson, Kelly Elphick, Liam Etherington, Michael Taylor, Mads Loveys and Hannah Crosby and my word they were superb, collectively and individually. Costuming, wigs, nails and makeup were on point, changing looks throughout, heels towering, sass flowing with extremely precise choreography delivered immaculately and a real contrast to the more drab factory workers of Northampton.  Utterly stunning all of you!  Importantly they were absolutely instrumental in the Milan delivery and that final number really being raised up!

At the centre of Kinky Boots is its powerful message: that people are strongest when they are accepted for who they truly are, and that compassion can break down fear, prejudice and misunderstanding. Spennymoor Stage & Song communicated that message with clarity and generosity, never losing sight of the humanity at the heart of the piece. This was a production full of life, spirit and purpose, reminding us that theatre can entertain magnificently while also saying something important. It was magical, uplifting and delivered with real affection for both the material and the audience. A thoroughly enjoyable evening, and one that sent its audience away with a smile and a positive message of acceptance for all.

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