Kinky Boots - Review

Adelphi Theatre, London


****


Book by Harvey Fierstein
Music and lyrics by Cyndi Lauper
Directed and choreographed by Jerry Mitchell

The Company

Two years after its Broadway debut, Kinky Boots strides into London’s Adelphi Theatre, helmed again by Jerry Mitchell who is evidently looking to repeat the show’s award-winning success over here.

Based on the BBC film of a decade ago – in turn inspired by true events - Kinky Boots tells of a Northampton based shoe factory facing closure, that stumbles across the idea of making women’s fashion thigh-length boots but built for a man’s body. As their kinky boots go down a storm amongst the transvestite and drag community, the company is saved.

It’s a neat conceit and the story hinges around two men. Lola - really Simon from Clacton – an acclaimed drag act, who underneath the costumed façade is desperate to be accepted by the world around him, particularly his ageing father. Charlie is a straight guy who has inherited the shoe factory and who comes to learn to love and respect Lola (who has provided the inspiration along with the creative input and design for the factory’s kinky boots), for who he is.

But whilst there’s a decent integrity to the show’s pulse of self belief and determination, Fierstein’s book is too predictable. If Matt Henry’s Lola, in all his splendour, had burst into singing I Am What I Am from La Cage Aux Folles when he visits the Clacton old folk’s home, in place of the maudlin Hold Me In Your Heart it would not have been out of place. That being said, Henry is a stunning turn and his duet with Killian Donnelly’s equally impressive Charlie in Not My Father’s Son, makes for spine tingling musical theatre. 

In amongst all the fabulously choreographed dick-heavy chicks there’s a straight love story too. Amy Lennox’s Lauren offers way too much talent to a role that’s often not much more than cliché, rivalling Amy Ross’ deliciously cynical Nicola, Charlie’s frustrated fiancee who’s harshly not even offered one song credit. The view of a gritty Northampton through Fierstein and Lauper’s glitzy Broadway prism doesn’t quite convince and if only there was as much meat in the show’s story as there is in its well packed dancers' lunchboxes, then this could have been quite the perfect musical.

But no matter, because for the whooping girlies and twirlies in the audience, Kinky Boots undoubtedly hits the spot. Mitchell also choreographs and his vision creates some sensational routines. With numbers staged on fashion-show runways, workshop staircases and ridiculously (but with jaw-dropping brilliance) even on a moving factory conveyor belt, the song and dance of Kinky Boots bear the hallmarks of cutting edge West End originality.

Booking until 6th February

Memphis - Review

Shaftesbury Theatre, London

****

Book and lyrics by Jo DiPietro

Music and lyrics by David Bryan

Directed by Christopher Ashley

Beverley Knight and Killian Donnelly

The history of the United States’ black population gaining civil rights is fertile ground for musical theatre. As The Scottsboro Boys opens in the West End dealing with an horrific injustice, so now the Tony-winning Memphis arrives from Broadway. Set in 1950’s Tennessee a deeply segregated Southern state, the redneck white folk don’t tolerate “race music”. No melting pot, Memphis seethes with racist oppression and it is against this backdrop of hatred and lynching that DiPietro and the Bon Jovi keyboards player Bryan have created their tale.

Beverly Knight proves why she’s one of the UK’s greatest soul singers. As Felicia, a girl with a gift of a voice and a quietly acknowledged sensation amongst those who’ve heard her sing, Knight owns every song with her hallmark power. Her opening number Underground defines both the passion of her performance as well as setting the scene for the illicit network of clubs in the city that provide discrete stages for Black music. Her act one solo Coloured Woman is an inspired performance of on-stage soul, rarely witnessed and unforgettable.

Loosely based on the real life radio broadcaster Dewey Phillips, Killian Donnelly is Huey Calhoun, a white disc jockey with a passion for African-American music and who, in a tale woven around fantastic whimsy and some brutally ugly realities, champions Felicia’s singing, breaking down some of society’s segregating barriers and getting her heard on mainstream “center of the dial” music stations. Donnelly has taken leading roles in some of London’s biggest leading shows, but unlike Knight’s pop star fame, outside of the showbiz bubble and hardcore West end fans he is barely known. His casting as Huey however proves to be not only brave, but also inspired. He has a gorgeous blues sound, displayed early on in The Music Of My Soul along with the confidence and poise to lead all his numbers. His character demands an almost geeky appearance, but it’s a veneer that cloaks a Tarantino-esque excellence.

A lot of money has been invested in Memphis and it shows. The sets are clever and the musical numbers that range in style from ranging from rock to spiritual are brilliantly arranged with Sergio Trujillo repeating his Broadway choreography. The first half of the show is stunning, leading to a pre-interval denouement that devastates in its emotional power and musical brilliance. Rarely has one staggered out for a half time G&T quite so moved. Act two however lacks dramatic substance and as the story unwinds there is little to stir the soul other than Clare Machin’s standout performance in Change Don’t Come Easy where, as Huey’s hitherto racist mother, she sings of her shift towards tolerance and acceptance.

Memphis is unquestionably a fine West End treat of a show. With a sensational cast and first rate production values it makes for a grand and moving night at the theatre.


Now booking until 2015