Arriving in Rochester amid a storm of glitter, sequins, and
throbbing bass, the crowd-pleasing musical “Kinky Boots” will be on stage at
the Auditorium Center through Sunday, May 17. Marrying joyous, high energy
production numbers with a heartfelt story about acceptance and staying true to
oneself, the show is adapted by Harvey Fierstein from
the 2005 independent British film of the same name, and features a catchy pop
score from Cyndi Lauper. The spirited result was ecstatically received by the
audience at Tuesday’s opening night performance.
Like the film, the musical’s plot revolves around the Price
& Son shoe factory in the small working class town of Northampton, England.
Though the company’s owner, Mr. Price, holds out hope that his son, Charlie
(Steven Booth), will take over the family business, the younger Price has no
interest, instead moving to London to start a career in real estate. But when
his father unexpectedly passes away, the business is left in Charlie’s
reluctant hands. He quickly learns the company is nearing bankruptcy; with the
entire industry coming on hard times, Price & Son faces closure unless
Charlie can come up with a new business plan to turn things around.
While in London, he makes the acquaintance of Lola (J.
Harrison Ghee), a sassy, take-no-prisoners drag queen, after he intervenes when
he sees Lola getting harassed by some drunk nogoodniks.
Spending some time with Lola, he realizes that Lola holds the key to the
company’s future: drag queens know the value of a quality shoe, and they’re an
underserved niche market. After all, there aren’t many women’s shoes that are
built to support the weight of a full-grown man. And so Price & Son shifts
gears, transitioning from practical men’s shoes to the world of high fashion,
retooling the factory to produce high-heeled “kinky” boots. Charlie brings Lola
on as a consultant after she offers some helpful guidance, reminding the
designers that “The Sex is in the Heel.” With Lola now a member of
the factory team, some of the male workers have some difficulty accepting a man
in a frock, but gradually everybody grows and learns valuable life lessons from
one another.
Charlie also has a self-involved fiancรฉ, Nicola, who is busy
planning their wedding and eager for Charlie to be rid of the factory. Her
relative absence and status-conscious personality leaves no question as to
where that plotline is headed. Though well-performed by Grace Stockdale, it’s
the definition of a thankless role. While Fierstein
was tinkering with the book, it would have been nice if he’d found something
better to do with the character. But Nicola’s increasing distance opens the
door for the attentions of the awkwardly charming Lauren (Lindsay Nicole
Chambers), a worker on the production line who’s promoted to an executive at
the company. Chambers gets a great showcase with the comedic number “The
History of Wrong Guys,” as she realizes she just might be developing a crush on
the unavailable Charlie.
A phenomenal singer, J. Harrison Ghee delivers a fantastic
performance, capably filling the stilettos of Billy Porter’s award-winning
performance. Lola gets fabulous backup from her Angels, a sextet of
high-kicking drag queens (including Rochester native Ricky Schroeder). Booth is
also excellent, bringing charm and likeability to a role that mostly requires
him to play the straight man (in all senses). Some shaky British accents aside,
the entire ensemble is outstanding and the singing and dancing (often in high
heels) is impressive across the board.
With a pop icon like Lauper penning the songs, it’s no
surprise to report they’re full of catchy hooks, and it’s a remarkably assured
first-time effort at a Broadway score. David Rockwell’s scenic design is
strikingly resourceful, creating a set that’s called upon to function as a
factory, a nightclub, and at one point even a boxing ring. Director and
choreographer Jerry Mitchell contributes some wonderfully inventive
choreography, most notably a nice bit centered around
the factory’s moving conveyor belts.
The show’s first act is admittedly stronger than the second,
which gets bogged down in providing emotional resolutions and (over) emphasizing
its message of acceptance. Charlie and Lola each get their own ballads one
right after the other, and though they’re both exceptionally performed, the
numbers slow down the musical’s considerable momentum. But thankfully, the show
rallies with an exuberant finale set on a Milan runway.
With the Auditorium’s bass cranked up to Tilt Nightclub
levels, the vibe in the theater resembled that of a rowdy dance club. It’s
perfect for setting the mood, but sacrificed a bit too much in the higher
ranges. This lead to an occasionally muddy sound, which meant a few of the
lyrics got lost here and there, but it’s a minor issue in a show that delivered
in nearly every other respect.
This article appears in May 13-19, 2015.
