Music & Lyrics: Cyndi Lauper
Writer: Harvey Fierstein based on the Miramax motion picture
Director: Nikolai Foster
Once dwelling only in music hall, pantomime and back-street clubs, drag is now very much in the mainstream. Ru Paul probably has a lot to do with this, but the proliferation of musicals that feature drag have also helped make what was once potentially shocking into something simply fabulous that almost everyone can enjoy.
Kinky Boots can’t really be described as shocking. In fact, it’s simple story of the proprietor of a failing shoe factory gambling its future on producing high-heeled boots for drag artists is surprisingly tame and almost tension free. Yes, one of its central characters and their ever-present entourage are all drag queens, but apart from some cursory (and extremely mild) bigotry, Kinky Boots is determined to deliver a good time above all else: something it manages in spades.
Of course, central to the show and very much front and centre is Lola, here played by Tosh Wanogho-Maud who brings vibrant energy and easy confidence to the character while also delivering beautifully nuanced self-consciousness as Lola’s alter-ego Simon. Wanogho-Maud’s physical performance is first-class, bringing confidence and sex-appeal to the big numbers, while his powerful vocals really sell the emotion of the ballads, even if his pronounced vibrato unfortunately often makes the lyrics incoherent. As factory owner Charlie, Dan Partridge has the difficult job of avoiding being overshadowed by Wanogho-Maud and his outrageous character. Thankfully, Partridge is an exceptional talent that more than holds his own in all respects, whether belting out a showstopping rendition of Soul of a Man, or simply interacting with the multiple quirky supporting characters, Partridge is a joy.
The rest of the cast are as equally talented as the leads with standouts being Courtney Bowman as Lauren, stealing the show with the tragic but hilarious The History of Wrong Guys, and Scott Paige as shop-steward George whose comic timing and physicality make him one to watch whenever he is on stage.
Nikolai Foster’s direction is sharp and funny, and Leah Hall’s choreography showcases the cast’s considerable talents without ever being too fussy of over the top. Robert Jones’s set and costumes are excellent, superbly shown off by Ben Cracknell’s spectacular lighting design.
As previously stated, Kinky Boots is first and foremost a feel-good musical. There is some conflict in act two but this feels shoe-horned in (pun intended) and ultimately means that the lead up to the glittering climax does sag a little. However, Harvey Fierstein’s witty script still manages more than its fair share of great one-liners and emotional beats, and even a dozen years from its debut, it is still surprising just how good Cyndi Lauper’s songs are.
It may not aim much higher than offering a great night out, but as a pure piece of musical theatre, this production of Kinky Boots kicks ass.
Runs until 6th December 2025
