Undeniably the best musical ever to be set in Northampton, the story of ‘Kinky Boots’ first came to the nation’s attention back in 2005 in the non-musical film version. Although brilliant, it always felt that this story was born to be brought alive with sequins, sparkles, and as its leading diva describes them, “a gaggle of fabulous Drags”. So just shy of a decade later, Broadway legend Harvey Fierstein and icon of pop Cyndi Lauper got their hands on it, and turned it into the glittering musical that we know and love today. One of the rare examples of a musical adaptation being better than its original source material, the story of the failing shoe factory that turned its fate around by manufacturing outrageous boots for drag queens has seen great success both on Broadway and the West End. A new production featuring Strictly favourite Johannes Radebe launched its tour earlier in the year to rave reviews, and plays this week at the Birmingham Hippodrome.
Charlie Price (played by Dan Partridge) is the latest in four generations of a family who have led the Price & Son shoe factory, but his lack of direction and aspiration sees him turning away from the family business and moving to London with wedding-obsessed-girlfriend Nicola (Kara Lily Hayworth). On hearing of his father’s unexpected passing, Charlie takes on the running of the factory out of family duty, but realises the business is failing. An unexpected meeting with London-based drag queen Lola (Johannes Radebe) brings an opportunity to save the business by catering to the underserved “niche market” of footwear for drag performers, but first Charlie and Lola need to change the traditional values and attitudes of the factory employees, while also understanding how their individual paths have led them to this common ground.
‘Kinky Boots’ remains high on the list of shows that are guaranteed to make you feel good. Lauper’s music is catchy and pop-driven, upbeat and vibrant when it needs to be, while also allowing time for the slower more character-driven moments. Fierstein clearly understands this world in detail, and his book is equal parts funny and heartfelt, with Lola getting more than her fair share of one-liners. Despite its American creative team, the show feels hugely British in its humour and outlook, with well-defined characters and a relatable story. Between all the glitz and glamour there are moments of humanity that bring lumps to the throat or a moistening of the eyes.
Directed by Leicester Curve’s Nikolai Foster, this new production retains the show’s industrial feel with Robert Jones’ effectively distressed factory set, though not all of the artistic choices are as effective as previous iterations of the show. Losing the conveyor belt sequence reduces the act 1 finale to a dance sequence that feels like filling time, and exposes the weakness of the “Everybody Say Yeah” song. Choreography (Leah Hill) feels less distinctive this time and makes far less of an impression than on the previous tour and London run, despite being well-performed. The Angels too are underwhelming and make minimal impact, falling somewhat short of the standard that we expect mainstream drag queens to be in the light of the Drag Race phenomenon. Other choices also seem strange, such as having the ensemble change into their iconic red boots for the finale in full view on the stage, rather than appearing as a surprise on the runway. If you haven’t seen the show before, such criticisms won’t impact your enjoyment, but collectively they do make the production as a whole feel just a little bit less fabulous than it could’ve been.
What’s undeniably fabulous is the stage presence of Strictly’s Johannes Radebe, who brings sass and attitude to every movement of his Lola. It’s been a dream role of his for a long time, and seeing him be his true shining self after his undoubtedly hard childhood is a real joy. He’s not the strongest actor or singer, it must be said, though he doesn’t embarrass himself either. “Hold Me In Your Heart” isn’t the Whitney-esque showstopper it normally is, and some of the dialogue delivery doesn’t hit the comedy beats that it should, but it’s all forgivable when you see him strut like a supermodel with flawless moves and fierceness for days. Dan Partridge also does well as Charlie, although he misjudges the argument scene in Act 2 and takes the aggression a few steps too far, coming off as almost irreparably unforgiveable. Scott Paige manages to standout in the minor role of George and shows off his knack for comedy, and Liam Doyle reminds us what a safe pair of hands he is in a number of small parts. Special mention also needs to go to Courtney Bowman as factor worker Lauren, showing what a star she is with impeccable comic timing and an enviable belting voice.
Often seen as an LGBT-focused show, ‘Kinky Boots’ is a musical that actually goes far beyond gender or sexuality, and instead speaks to all of us. The show uses Oscar Wilde’s quote, “Be yourself; everyone else is already taken”, and this message of not being afraid to defy others’ expectations of us and instead living our own truths, whatever they may be, is as important as it is fabulous. This new production may take a couple of creative missteps, but it remains full of heart and “sole” (sorry), and a high-heeled hit.
Reviewer: Rob Bartley
Reviewed: 15th April 2025
North West End UK Rating:
‘Kinky Boots’ runs at Birmingham’s Hippodrome until Saturday 19th April 2025 before continuing on its UK tour.
Performance runtime – 2 hours 30 minutes including interval. https://kinkybootstour.com/
Cast Note – Johannes Radebe is not scheduled to perform at matinees and does not appear at all venues. Check local listings for details.