Kinky Boots – Marlowe Theatre, Canterbury

Book: Harvey Fierstein

Music and Lyrics: Cyndi Lauper

Director: Nikolai Foster

Charlie Price is at a crossroads. Between coping with a relationship going sour and cobbling an inherited failing shoe factory together, Price’s life looks to be heading in one direction before meeting drag queen Lola, whose sparkle and energy provide fresh opportunities in this revival of Kinky Boots The Musical.

As Price, Dan Partridge shines again as a musical’s leading man. Price is a nice blend of a troubled businessman and an employer desperate to do right by his employees, and Partridge strikes the right balance in his portrayal. It does feel that Price is balancing a lot in a book that struggles to explore everything clearly. Still grieving the loss of his father, his place in the world, his faltering engagement and his quest for the perfect shoe, it does not seem surprising that he is a man at times on the edge, but one wonders whether all of these problems were totally necessary.

Alongside Partridge is Strictly pro-dancer alumni Johannes Radebe as Lola, the feisty and fiery drag queen muse who kicks new life into Price’s failing business. It is a performance that allows Radebe’s prowess as a dancer to shine, particularly during a powerful introduction and commanding close to Act One. This is clearly a role, as mentioned in the programme, that Radebe has always wanted to play, and delivers with plenty of heart.

Courtney Bowman’s confident and energetic performance as lovestruck Lauren threatens, though, to steal the show. Bowman is simply brilliant, not just with her physical comedy, but also as a singer and dancer, and seizes the spotlight at any and every opportunity.

In addition, the musical is full of superbly choreographed numbers from choreographer Leah Hill. These tap nicely into the skills of the leads, especially Radebe, but this is a slick and polished piece full of dynamism. This is enhanced by Robert Jones’ set and costume design. Jones’ design of the shoe factory quickly throws us into the busy environment, but this is well designed to enable the large chorus numbers to take place with ease. Furthermore, the costume design, particularly for Radebe’s Lola and Lola’s eye-catching Angels, captures all the necessary glitz and sparkle, and for a touring production, these designs, both costume and set, would not look lost on a West End stage.

It is when the production gets going with some of its punchier, more energetic ensemble numbers that Kinky Boots really shines. Cyndi Lauper’s music and lyrics are better in the louder numbers, and these also give the production’s talented ensemble a chance to dazzle, too. This helps to outweigh some of the clumsy dialogue, especially during an overly shouty Act Two.

Kinky Boots is a fun, heartfelt production that channels positive messages about community and acceptance, and perhaps at such a divisive time, could not be more timely. As an enjoyable and entertaining show, the shoe certainly fits.

Runs until 14 June 2025, then continues tour.