JADAR

★★★★☆

Based on the film of the same name – itself based on an episode of a BBC documentary – Kinky Boots is one of the best-loved modern musicals. Following a West End run, a UK tour, and a non-replica regional revival down south, Storyhouse have produced the first-ever Northern revival.

Shortly before the production began, it was announced that a third non-replica production will be touring the UK next year. Kinky Boots was the first show I ever reviewed. It’s a solid show, and never did I think that so many creatives would want to reimagine it. The main question on my mind was, of course, “How?” – but I also wondered “Why? And why now?” It’s not like it’s a classic musical, nor is it at all problematic. On the contrary.

Storyhouse is one of the most versatile theatres in the country. For this production, the stage was built up to the circle, the circle becoming the stalls and the grand circle becoming the circle. This made the space more warm and intimate, creating a sense of community – especially with the seats circling the stage.

The intimacy of the theatre was juxtaposed with the grandiosity of the grand finale, which was performed on a catwalk in the theatre’s immense bar – allowing the creatives to transport us to Milan and reflecting the small town characters’ growth and acceptance. Storyhouse reconfigured their own space to reimagine this musical.

The majority of the musical is pretty standard, including the set design (Rachael Ryan). There is a fixed set, with a metal frame running from the back of the stage right to the front of the stage left. I was glad not to be sat at the stage left, for the piece might have felt a little alienating.

The simple, static set – the factory, where most the action is set – did what it needed to do, but some movement would have made things more interesting. Nicole Bondzie’s choreography helps bring the production to life, in place of an elaborate set. Lighting (Charly Dunford) is employed masterfully to create two very different worlds.

The best design is seen in the costumes, especially the camp-tastic creations worn by Lola and the Angels. Ryan served up Spice Girls on steroids.

As I recalled from seeing the musical previously, the beginning is quite slow and dull – intentionally. It is not until Lola’s (Duane-Lamonte O’Garro) dramatic revival that things get going. Writer Harvey Fierstein clearly wanted to create a sharp contrast between the lives of the two leads, Charlie (Danny Becker) and Lola.

However, the beginning of the show did feel a little flat. It was not really until Lauren’s (Leah Vassell) ‘The History of Wrong Guys’ that things picked up – this was the catalyst for an explosion of energy. Perhaps it was the audience’s electric response to Vassell’s enthusiastic performance that helped the energy pick up.

This adaptation has been cast very well, with Becker making for a sympathetic lead. He successfully shows Charlie’s development. Charlie, though a decent guy, can be a bit arrogant, ignorant and sheltered; it is Lola who helps him come to terms with things – and O’Garro does a wonderful job of differentiating between the insecure Simon and his sassy alter-ego, Lola.

The splendid supporting cast is made up of Phil Corbitt (Mr Price), Rachael Garnett (Milan Stage Manager and Ensemble – and an understudy for four characters!), Lynwen Haf Roberts (Pat), Kaitlin Howard (Trish), James Ifan (Richard Bailey – and an understudy for five characters!), Seabastian Lim-Seet (Harry), James Lowrie (Angel), Roddy Lynch (Don), Remi Martin (Angel), Seren Sandham-Davies (Nicola), and Thomas Sankey (Angel).

Lynch shines the brightest as Don, an archetypical macho man who also, inevitably, goes on his own journey of self-reflection and acceptance.

Indeed, the story is unsurprising; it goes exactly how you would imagine – but it’s so fun and heart-warming that it doesn’t really matter.

Cyndi Lauper’s score is fantastic. Like her own discography, there are bodacious bangers and beautiful ballads. Highlights include ‘Land of Lola’ (Lola’s opening number – a sensational introduction to the character), ‘Sex is in the Heel’ (Lola, Charlie and his staff singing about making “kinky boots”), ‘Not My Father’s Son’ (Simon and Charlie realising they have something in common – strained relationships with their fathers), and ‘Everybody Say Yeah’ (the closing number of Act 1 – Charlie, Simon and Company realising that their crazy idea could work).

Other than the changed finale, the most noticeable difference between this non-replica version and the previous production is that the cast double as the band: they play instruments onstage.

Whilst this is often a nice idea, I’m not sure how well it works for Kinky Boots. Why are these characters, in a pop (not folk) musical, walking around with instruments? Everything should have a purpose, but this feels a bit gimmicky – or worse, like the producers want to save money on having an actual band.

Don’t get me wrong, the cast are marvellous musicians, and some people will no doubt love this change – but it needs to be better executed.

Indeed, it feels a bit odd at times, especially when the characters are not just stood in the background but are actually a part of the scene. For instance, when Charlie gets the news that his father has died, he turns around to see his fiancée blowing a trumpet. Later, Ron uses his guitar during the boxing match. Why? Ron is not a guitarist. This just draws attention to the fact that the cast are playing instruments, which is distracting. The cast playing instruments should feel natural, not forced.

The grand finale begins with an introduction from a bunch of fashion models, representing another show. The energy and enthusiasm of the young performers deserves applause, but the costumes could certainly be both classier and camper to make it feel more like a Milan Fashion Week show. The choreography, too, could be made more interesting – though I understand that they do not want to make this number too exciting so that the main event feels exhilarating in comparison to the “traditional” Milan show. But if that is the case, then this opening number should have been more serious and highbrow. The number also runs a little too long – even if it needs to so that the main cast have time to change. I appreciate the effort that went into this number but the execution was a bit off.

The main event is a camp drag extravaganza, with the cast offering a roaring rendition of ‘Raise You Up/Just Be’. Transporting the audience into the bar for an immersive finale works wonderfully – and is certainly the best change that this production has made.

Kinky Boots is no masterpiece, nor is it trying to be – but it is undeniably fun, feel-good, and fabulous. Amber Sinclair-Case’s reimagining is fresh and flavourful, albeit with a few flaws – but the musical encourages us to love ourselves and each other, warts and all.

Kinky Boots runs at Storyhouse, Chester until May 18.