Originally a smash Broadway hit, Kinky Boots is a musical about two people finding common ground in an unusual way: through shoes. With the book by Harvey Fierstein, Kinky Boots is the story of two seemingly different individuals who discover that they have more similarities than differences. Charlie Price (Taylor Diveley) inherits the family’s shoe factory just as he is attempting to start his life elsewhere. Unfortunately, the factory is bankrupt and may close. A chance encounter with Lola (Lamont Gleaton), a drag queen and cabaret performer, leads to an unconventional solution to save the business.
Jocelyn Sanders has done an admirable job of pulling together a talented cast of performers for a fun evening of theatre. As the leads, Diveley and Gleaton balance each other nicely and then shine beautifully during solo numbers. Gleaton dazzles as the outwardly confident Lola, taking the stage by storm with a larger-than-life persona and performance. At other times, Gleaton easily reaches the introspection necessary to convey the depth of Lola’s sometimes painful journey to true self-understanding. Diveley takes some of the same opportunities, as he energetically leads his factory workers to believe in the dream of success and then anguishes over his own shortcomings.
The supporting characters and cast play beautifully in the background of Charlie and Lola’s story without pulling focus away from those characters’ journey. Evident in their body language, the factory workers are initially tired and demoralized, anxious about what is around the corner. After Lola enters the scene, the factory comes alive with energy. Jessica Roth (Lauren) presents a nicely nuanced performance, a tad daffy when required and thoughtful and kind in other important moments.
Lola’s Angels do exactly what they’re supposed to do. They bring fun and energy to the stage through their marvelous dancing and sassy personalities. Mandy Applegate’s overall choreography is fun and sexy and gives all performers a chance to shine.
The live band is terrific, led by Chrystine McClellan, who is also the Music Director. McClellan has taken a group of varied performers and created not only a lovely ensemble performance but also has led individual performers to shine where their talents lie. The only sound drawback is that at times, it is difficult to hear certain dialogue and portions of songs.
When you first arrive, you find yourself looking at the exterior of Price and Son, the factory which Charlie inherits. During the opening number, the building opens to reveal an aging industrial space in which most of the action takes place. Both the set and light design are by Patrick Faulds, and both beautifully deliver an important underlying aspect of the show. The lighting seamlessly moves with the performers, capturing them as they move to different levels and areas of the stage, which is a credit to the design and designer. As the locations change, Faulds has designed clever movable set pieces, practically moved by cast members in character, adding to the overall success of the design.
The costumes, designed by Andie Nicks, also play a nice supporting role, and then step to the front to take a bow when appropriate. Nicks has chosen a basic monochromatic theme for most of the clothing of the factory workers, leaving it to Lola and the Angels to dazzle the eyes. The varied costumes sported by the Angels bring real life to their personalities, and Lola’s outfits . . . . Well, let’s just say “fabulous” is insufficient.
Kinky Boots runs about two and a half hours, with one fifteen-minute intermission. It runs through October 8 at Cottingham Theatre on the campus of Columbia College.
