That's Shoe Biz!

Review of Kinky Boots, The Palace Theater, Waterbury

Harvey Fierstein’s and Cyndi Lauper’s Kinky Boots is a crowd-pleasing tale of how difference saves the day. Or, rather, how difference-driven niche markets do. In any case, its message is progressive and its songs full of the moxie for which Lauper is well-known. The best thing about the show, though, are the drag queens—or “angels”—led by Lola, played with a winning understatement by J. Harrison Ghee who seems born to be charismatic and show-stopping.

 Lola (J. Harrison Ghee) and the Angels

Lola (J. Harrison Ghee) and the Angels

The story concerns Charlie (Adam Kaplan), the heir to his father’s show factory in Northampton, England, who has plans to live the life of a Yuppie in London with his svelte and fashion-shoe-struck fiancée Nicola (Charissa Hoagland). But, like a latter-day George Bailey, Charlie can’t give up on the little folks at home. If he doesn’t step in and find a workable solution to get the ailing factory—which has been eating its unsold inventory—solvent, then it’s the dole for all the workers so loyal to his late Da. A chance encounter in the street—where Charlie tries to come to the aid of Lola, a drag-damsel in distress otherwise known as Simon—leads to the idea to save the day by developing the glitzy thigh-high boots beloved of queens, thus inaugurating Lola’s career as a designer of kinky boots.

A strong suit in this tale of working lads and lasses putting their collective noses to the grindstone, for higher than high heels able to support a cross-dressing male, is how well-oiled the machinery is. The big production numbers have many moving bodies and moving parts—including conveyor belts on “Everybody Say Yeah”—and it all works wonderfully well on the Palace Theater’s old school stage. Many a Broadway house looks tawdry compared to the Palace’s well-kept sumptuousness, and Kinky Boots fills it with Broadway-style pizzazz. The orchestra is tight, and many songs have a familiar Eighties feel that really starts to work after a while.

The action bits—such as the boxing bout between Simon and Don (Aaron Walpole), the manly bloke distressed about working for a cross-dresser—are well-staged and add some drama to a second act that otherwise doesn’t have much to do, except create some faux suspense over whether or not the boots will be ready for Milan. It’s Act One that really cooks, with standouts like the aforementioned “Everybody Say Yeah”—its big finish—“Sex is in the Heel,” a manifesto for the libidinal charge of accessories, “Not My Father’s Son,” a touching duet between Simon and Charlie, and “The History of Wrong Guys,” a snappy comic relief tune in which Lauren (Tiffany Engen), a factory worker with a crush on Charlie, puts out there a love-struck feminine view as only Lauper could, and which Engen puts across with show-stealing brio.

As the lead male dressed as a male, Kaplan’s Charlie is a little too timid to be interesting and a bit too earnest to be amusing. He’s got looks and a voice, but could open a bit more in his movement, particularly on his big Act 2 number “Soul of a Man.” As his intended, Nicola, Hoagland looks great in a thankless role that feels a tad unfair, as if it’s fine for the “angels” to be all about couture but we should see Nicola as shallow for harboring similar tastes. Meanwhile, no one seems to wonder why men and women alike, at the factory, are content with a rather unisex look of dungarees and pull-overs. Glamor, it seems, is for those who pursue it as an identity, though, in the end, everyone gets to sport a pair of kinky boots.

As a progressive tale about having the courage to be yourself in a hostile world, Kinky Boots still rings true and is a welcome reach-out to soften the heart of the glowering Dons of the world. Though it could also be said that the threat of violence or ostracization is rather anodyne here, and, by the same token, the kinkiness is rather mild. A plot in which Charlie ends by giving Lola/Simon a go would make for a kinkier show and a more surprising case of “the girl” getting the guy.

In any case, if—as the saying goes—you can’t judge someone until you walk a mile in their shoes, that goes double for taking a few steps in their kinky boots. Kinky Boots is at its best bringing home the camaraderie of people stirred by a common purpose, so that the design, production and marketing of Lola’s creations feel as rewarding as the creation of Lola herself, or of a show about her. In each case, it’s worth our time to see how it’s done and why that should matter to our general self-esteem.


Kinky Boots
Book by Harvey Fierstein
Music and Lyrics by Cyndi Lauper
Based on the Miramax motion picture written by Geoff Deane and Tim Firth
Directed and choreographed by Jerry Mitchell
Music supervision, arrangements and orchestrations by Stephen Oremus

Starring: J. Harrison Ghee, Adam Kaplan, Tiffany Engen, with Aaron Walpole, Charissa Hoagland, Jim J. Bullock

Scenic Design: David Rockwell; Costume Design: Gregg Barnes; Lighting Design: Kenneth Posner: Sound Design: John Shivers; Hair Design: Josh Marquette; Make-Up Design: Randy Houston Mercer; Associate Choreographer: Rusty Mowery; Associate Director: D. B. Bonds; Music Director: Roberto Sinha; Music Conductor: Michael Keller

The Angels: Joseph Anthony Byrd, Sam Dowling, Ian Gallagher Fitzgerald, JP Qualters, Xavier Reyes, Sam Rohloff

Cast: Meryn Beckett, E. Clayton Cornelious, Tami Dahbura, Alfred Dalpino, Madge Dietrich, Alex Dreschke, Annie Edgerton, Jhazz Fleming, Collin Jeffery, David Jennings, Ellen Marlow, Ciarán McCarthy, Ashley Moniz, Sebastian Maynard-Palmer, Casi Riegle, Andrew Scanlon, Tom Souhrada, Harrison Wright, Sam Zeller

The Palace Theater, Waterbury
December 6-11, 2016