Kinky Boots – Adelphi Theatre

Killian Donnelly and Amy Lennox in Kinky Boots at the Adelphi Theatre, London. Picture: Johan Persson

Kinky Boots continues at the Adelphi Theatre, London.

Star rating: three stars ★ ★ ★ ✩ ✩

One by one, British-inspired movies are popping up in musical stage adaptations, although unlike Bend It Like Beckham (currently running at the Phoenix Theatre) and Made in Dagenham (this show’s predecessor at the Adelphi), Kinky Boots originally opened on Broadway and won six Tony Awards in the process.

Its big rival for those much-desired statuettes in 2013 was Matilda the Musical, and I can now see why there was some surprise back then that the British-born show lost out in the Best Musical and Best Original Score categories.

The fact is that Kinky Boots is a thoroughly entertaining and feelgood evening, spreading a message of understanding and tolerance that remains as relevant today as it’s ever been. It is brought to life by a stunning cast with every member of the ensemble bringing huge energy to the joy that is Jerry Mitchell’s slick and fast-paced choreography.

However, while there is plenty to enjoy in Harvey Fierstein’s reasonably witty book (which features some laugh-out-loud gags) and Cyndi Lauper’s refreshingly contemporary, though not particularly memorable score, it certainly doesn’t have the substance or originality of Tim Minchin and Dennis Kelly’s adaptation of Matilda. (Note: it’s worth mentioning Kelly did win in the Best Book category).

Based of course on the 2005 movie, the story revolves around Charlie (Killian Donnelly) who is left to manage the family shoe factory in Northampton when his father dies. At first, the only option appears to be to shut down the failing business and make all the loyal staff redundant. Then Matt Henry’s Lola (rarely known as Simon) comes on the scene, the idea for a range of bespoke ‘kinky boots’ for drag queens is born, and life is never the same again.

While it is an engaging tale, it occasionally feels thinly spread over a whole evening and the pace can dip. In the very best of musicals, the libretto flows from dialogue to song: when characters reach emotional highs and lows, they express themselves in music. Lauper does this well in certain scenes – there is a real tenderness demonstrated during ‘Not My Father’s Son’, when Lola opens up to Charlie about his childhood and the two men realise they are not so different after all.

Elsewhere, though, the placing of musical numbers seems formulaic and, while brilliantly performed, Lola’s ‘Hold Me in Your Heart’ scene in Act II feels extremely contrived. When this happens, it is hard to sustain an emotional connection with the dramatic action taking place.

Yet Kinky Boots also has ingredients that are impossible to resist. There is nothing unsophisticated about Killian Donnelly and Matt Henry’s performances, and they approach their bro-mance with humour and deep affection. Donnelly is not only in super soulful voice as always (‘Soul of a Man’ is a treat), but his acting is always spot on as Charlie finally discovers personal and professional dreams he is passionate about pursuing. Donnelly is by far one of the UK’s best leading men in musical theatre at the current time.

Matt Henry has great stage presence – in addition to the fact that he looks stunning in sequins and high heels – and is particularly fine in the big set pieces such as ‘Sex is in the Heel’ and ‘Everybody Say Yeah’. When accompanied by the all-singing, all-dancing, rather gorgeous Angels (a flock of fabulous drag queens), Lola is a force to be reckoned with.

There is also some fine support from a fantastic ensemble, including Jamie Baughhan as the factory bigot Don who learns to accept people for who they are, and a delightfully quirky portrayal of foreman George from Michael Hobbs.

Best of all is Amy Lennox as Lauren, the factory girl who falls for Charlie despite her best intentions. In essence Lauren is a relatively small role in the show, leaving Lennox limited time to put a stamp on the character, but she does just that and more. Within seconds of her one big solo in Act I, ‘The History of Wrong Guys’, Lennox has the audience in the palm of her hands. It’s a gem of a performance.

All in all, Kinky Boots is a mixed bag (the sound balance also needs some tweaking), but no one could deny the show’s massive fun factor as the whole colourful cast comes together for the final number and dances their socks off (including those Angels in Gregg Barnes’ memorable costumes).

Lola says that she always find life brighter when raised six inches above the ground, and ultimately, perhaps, she has a point.

Lisa Martland

www.kinkybootsthemusical.co.uk