JADAR

Kinky Boots only premiered in the UK a decade ago, but since then, it has had a whopping three non-replica productions. The London/Suffolk (2022) and Storyhouse Chester (2024) productions were scaled-down, small-budget productions. But the new touring production by Curve Leicester is a roaring revamp that turns the camp modern classic into a stylish spectacular. Director Nikolai Foster has studied the book by Harvey Fierstein and cherished the songs by Cyndi Lauper (who was in attendance and joined the curtain call) to create the best production of Kinky Boots to date.

Kinky Boots is based on the film of the same name, which is, in turn, based on an episode of Trouble at the Top called ‘The Kinky Boot Factory’. It follows Charlie Price (Dan Partridge), who has inherited his father’s shoe factory, even though it was never his passion. He runs into drag queen Lola, aka Simon (Johannes Radebe), who has an even worse relationship with his father – and together, the pair devise a plan to save the shoe factory by making a line of “kinky boots”: red high-heeled boots that can carry the weight of grown men.

Johannes, a professional dancer, goes full diva as Lola but also achieves the nuances and tenderness required for the role. He’s not as vocally strong as previous Lolas but his performance is so electrifying that it doesn’t matter, especially because he acts the hell out of those songs. He has said openly that when he sings ‘Not My Father’s Son’, he is singing it to his own father – and you can tell.

Charlie and Lola are ostensibly yin and yang – a boring straight White man and an anything-but-boring queer Black man who dresses like a woman – but they quickly learn that they have a lot in common. Still, previous iterations of Charlie have been a little bland – it’s hard to hold your own against a dazzling drag queen – but Partridge asserts dominance and shows us why his name is on the poster, alongside Johannes’. He’s charming, hilarious and sympathetic – even when the toxic masculinity comes through, you sympathise with him, if not only because you have learned to love this damaged young man who is desperate to save his father’s factory.

The central trio is rounded off with Courtney Bowman as the dizzy, loveable Lauren. Bowman is one of the most celebrated musical theatre performers of her generation – for good reason.

Newtion Matthews excels at playing both Lola’s hyper-masculine father and one of the Angels. I’m sure he’s wonderful as Lola in the matinée performances (and vocally stronger than Johannes). Kara Lily Hayworth plays Charlie’s wife, Nicola. Whilst previous productions have portrayed her as annoying, opportunistic and unsympathetic – arguably a misogynistic portrayal – this production (and Hayworth) has made her more understandable and, dare I say it, human. Joe Caffrey is wonderful as Don, an archetypical toxic man who learns to accept others for who they are. Scott Paige is ever excellent as factory worker George – he’s such an infectiously charismatic performer though it is certainly something watching him play butch.

Kathryn Barnes (Pat), Lucy Williamson (Trish), Jonathan Dryden Taylor (Mr Price) and Liam Doyle (Harry) round off the core cast. Whilst they all deserve more stage time, each gets their moment to shine.

The ensemble is equally as incredible. There’s not a weak link on that stage. The diversity, from body/size to race/colour, is delightful, especially during the drag numbers, which make use of most of the male cast. It could be even more progressive to have some of the female cast portray the Angels too – powerfully blurring the lines between gender.

Fierstein’s script is so funny in a way that only a script by a gay man could be. There are plenty of zingers, such as Simon talking about his dad’s cancer: “It’s ironic – the fags got him in the end.”

The original production, though nicely designed, lacked that special something. It was the first show I ever reviewed, back in 2018, and although it was only three years old, it already felt dated and uninspired. Storyhouse’s production was even more bland, until the encore extravaganza in the bar – but by then, it was little too late. But this new production is a no-expenses-spared visual feast. This is what Kinky Boots should be.

Foster has employed all the right people for this juggernaut production. Robert Jones’ set masterfully transforms from the factory to a catwalk in Milan, complete with oceanic red curtains bedazzled in yellow lights. His excessively glamorous costumes (some of which had arrived earlier that day) will evoke jealousy and envy in every drag queen, gypsy bride, and Shirley Bassey (she might not be so keen on the titular kinky boots though – they’re a revelation!).

The attention-to-detail in design is commendable – for instance (spoiler), Nicola wearing bright red high heels when she breaks up with Charlie.

Campbell Young Associates’ ought to be the go-to wigs, hair and make-up designers. Leah Hill’s choreography is the right balance of old and new, referencing the classic dance styles that drag queens champion whilst feeling fresh and inventive. Ben Cracknell’s lighting design brings every scene to life; even without the set, we could be transported from location to location with his lighting alone.

The score, written by acclaimed singer-songwriter Cyndi Lauper, is, obviously, one of the best in recent history. From beautiful ballads to bodacious bops (she bop!), she effortlessly captures every emotion and instinct in the book. She joined the cast onstage for the curtain call, and whilst she had not planned on giving a speech, she said a few words. She should have prepared something though because some people seemed confused as to why she was there (lol!) whilst others were surprised that she had never seen the musical before (of course, she was referring to this new production). Cyndi kicks off her farewell UK tour in a few days, and I cannot wait to see her in Manchester on Sunday.

This is certainly one of the best revivals of recent years. Kinky Boots is not a musical one would expect to be reimagined so much but this production is third time lucky. Nikolai Foster is a visionary. Johannes Radebe is a sensation. Courtney Bowman is a diva. Dan Partridge is divine. I’ve seen more shows than I care to count so trust me when I tell you to grab yourself a ticket (if there are any left!).

Kinky Boots runs at Palace Theatre Manchester until February 8 and tours the UK until July 26. Johannes Radebe is with the show until July 19. He will not be appearing at all performances; at certain performances, Newtion Matthews will play Lola.