Harvey Fierstein

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

Arm in Arm

Ending its extended run at the Goodspeed Opera House, La Cage aux Folles, directed by Rob Ruggiero, officially brings the summer season to an end. The show commenced on June 26 and closed on September 10, a lengthy run that indicates the attraction of musicals, with their big casts, complicated costume changes, live musicians, songs and, in this case, a hint of slapstick and a touch of sentimental schmaltz in an affecting tale of true love triumphant.

The Book by Harvey Fierstein, which won a Tony back in 1983, has become by now quite venerable, however outrageous it may once have been. Key to it all is the character of Albin, played here by Jamiston Stern in a faultless and winning performance. Albin’s alter ego is “Zaza,” a top notch drag star at La Cage aux Folles, the St. Tropez cabaret run by his romantic partner Georges (James Lloyd Reynolds). Georges, once upon a time, begat a son, Jean-Michel (Conor Ryan), and the latter has come round to say it’s time for his folks—Georges and a long absent mère—to meet the folks of his intended bride, Anne Dindon (Erin Burniston). This inspires some despair over the youthful marriage but the real catch is who those prospective in-laws are. M. Dindon is a man with a mission: as leader of the “Tradition, Family, and Morality” Party, he’s all for cleaning up places like Georges’ club and doing away, Anita Bryant-style, with anything that suggests same-sex coupling is not a crime or an outrage. So, of course, swishy Albin must be forced into hiding.

What makes the show work in the first half are the jumps between the apartment, where Albin frets over his feelings and reviles everyone else’s lack of feeling, and, downstairs, the stage of La Cage where Georges prowls about in swank threads and regales the audience with pleasantries while “the girls”—a collection of cross-dressers known as The Notorious Cagelles (Darius Barnes, Michael Bullard, Alexander Cruz, Erin M. Kernion, Alex Ringler, Nick Silverio, Nic Thompson)—entertain. Ralph Perkins’ choreography for the show tunes features acrobatic splits and flips as well as sinuous gestures, the costumes by Michael McDonald are as pizazzy as one could hope—particularly for the “La Cage aux Folles” number—and the songs by Jerry Herman let the girls strut their stuff.

The Notorious Cagelles

The Notorious Cagelles

Less effective are the musical efforts to be more touching and less tongue-in-cheek. Reynolds, with his firm jaw and twinkling eyes, is a lady-killer of a Georges, but “Song on the Seine,” his number in tribute to his love for Albin, doesn’t quite stir as it should. And the other love song, “With Anne on My Arm”—sung by Ryan winsomely—sags a bit, especially following Stern’s worked up rendering of “A Little More Mascara.” Thankfully, the two lovebirds, Albin and Georges, make “With You on My Arm,” a variant on Jean-Michel’s number, debonair and delightful. And Albin’s show-stopping curtain song “I Am What I Am” is in every sense a tough act to follow.

Jamison Stern (Albin), James Lloyd Reynolds (Georges)

Jamison Stern (Albin), James Lloyd Reynolds (Georges)

The shorter second act doesn’t quite cook as much as the first. Whenever Albin is onstage we get to bask in the fascination Stern finds in the part, even when simply the object of Georges’ admiration—as the only mother Jean-Michel knew—in “Look Over There.” But the staging of the dreaded meeting between the Dindons (Mark Zimmerman and Stacey Scotte) and Georges, sans wife until Albin shows up in a dress, is short on pay-off. The dialogue’s never quite as entertaining as one might hope and soon enough it’s time for another song with everyone whirling a partner and, of course, M. Dindon leading the Chanel-clad Albin. Things go awry and then get realigned with the age old schtick of comic cross-dressing.

Theatrically, one of the neat tricks of La Cage is that it is able to exploit the sexiness of guys (the Cagelles) who look good as gals, the perceptiveness of a guy (Albin), who identifies feminine, trying to act masculine, and the comic yuks of a guy (M. Dindon) who considers himself all male having to dress as a woman. And then there’s Cedric Leiba, Jr., as maid/butler Jacob, who does all that can be done with the role of a sassy and surly underling in hot pants and heels.

By the end of the show, the warmth of affection for Stern’s touching Albin and Reynolds’ doting Georges carries the day, and, in the light of recent refusals to grant legal marriage certificates to gay couples, one might say that the lesson of La Cage is still pointed enough and not simply all in fun. The audience was on their feet cheering and one hopes it’s a cheer for the show’s benign depiction of same-sex love as equally amenable, as marriage always is, to “tradition, family, and morality.”

Jamison Stern as Albin as Zaza, with Nic Thompson, Nick Silverio, Alexander Cruz, Darius Barnes

Jamison Stern as Albin as Zaza, with Nic Thompson, Nick Silverio, Alexander Cruz, Darius Barnes


La Cage aux Folles
Book by Harvey Fierstein; Music and Lyrics by Jerry Herman
Based on the play by Jean Poiret
Directed by Rob Ruggiero
Musical Direction by Michael O’Flaherty
Choreography by Ralph Perkins

Scenic Design: Michael Schweikardt; Costume Design: Michael McDonald; Lighting Design: John Lasiter; Sound Design: Jay Hilton; Hair, Wig & Makeup: Mark Adam Rampmeyer; Assistant Music Director: F. Wade Russo; Production Manager: R Glen Grusmark; Production Stage Manager: Bradley G. Spachman

Cast: James Lloyd Reynolds; Jamison Stern; Conor Ryan; Cedric Leiba, Jr.; Wade Dooley; Barbara McCullon; Kristen Martin; Sue Mathys; Chris Hietikko; Alex Ringler; Erin M. Kernon; Mark Zimmerman; Stacey Scotte; Darius Barnes; Michael Bullard; Alexander Cruz; Erin M. Kernion; Alex Ringler; Nick Silverio; Nic Thompson; Brett-Marco Glauser; Emily Grace Tucker

Goodspeed Musicals
East Haddam, CT
June 26-September 10, 2015