Kate’s Score:3 sequinned feather-boas
Before it was a film, then a musical, “Kinky Boots” was a real event in England where the son of the company of W. J. Brookes launched a line of “Devine Footwear” in a what turned out to be successful re-invention of two struggling businesses. It became a 2005 film and then a musical and like similar musicals it is set in a hard-times British factory town, where jobs are in jeopardy and spirits need lifting. Lifting the spirits in this case are drag queens and in particular, Lola, queen of the drags. “Kinky Boots” (songs Cyndi Lauper, book by Harvey Fierstein) is about finding your passion, overcoming prejudice and the odds and transcending stereotypes. Never mind that this plot formula has become a flamboyant stereotype all by itself.
After his father’s death, Charlie Price (Marcus James Hurley) who has run off to London, inherits the family business, a shoe factory in Northampton. Not particularly interested in shoes, he discovers the factory is in such dire financial straits that he must close it. However, an unlikely partnership with drag queen and cabaret performer Lola /Simon (William Manukia) to produce fabulous, erotic boots saves the business. Hurley and Manukia each bring something special to their roles. Hurley’s voice delivers a particularly fine Soul of a Man solo in the second half, even if his posture in delivery is oddly rather contorted. Manukia is to be commended for mastering the art of dancing well in stilettos and finding the edges of Simon/Lola with charm. These two leads have some chemistry and their performances would be even stronger if they would lean into this chemistry more; find those moments between Charlie and Simon and let them sit for a breath or two. It was opening night – with a few more performances these two might be able to relax into their characters and give more depth to that connection the two have with each other. There are important ballads here dealing with the emotional legacy of parental expectations. Both Charlie and Simon struggle to come to terms with their relationships to their fathers and this struggle has its own place in the light.
Overall, this tended to be an aspect with which the performance was least comfortable – the few sweet, soft, eye-contact moments were rushed through; as though cast were uneasy with them. Those moments are needed for contrast to the sequined, high energy level which is most of this musical and they underpin the theme.
Kate Xouris performance as Lauren is a masterpiece of comic acting and timing. She reminds one forcibly of Isla Fisher in her physicality, control and her ability to delight an audience. There is, however, a moment of serious contemplation needed from Lauren when she speaks of her father to Charlie. Like the other gentle moments, this was a little lost. Nail this, and Xouris’ performance would be flawless.
The ensemble cast all bring passion and energy to the show and gloriously, I could understand every word spoken. (If you have read my reviews in the past you will know that poor diction on stage is one of my bete noires!) Each chorus member finds a way to differentiate character. There are far too many to single out here but Director Rod Herbert enabled every one of them to find an individual voice. A caveat: the accents were most uneven. Some seemed to have mastered a generic northern England accent, some did not even attempt, and some wandered in and out and all about. The accent work needs a focused effort or get rid of it altogether for it is disconcerting when we journey all over the Commonwealth in search of a location. Herbert, who has so wisely decided to hire the set, has a strong sense of placement, individuality and movement but needs to jump on the accent situation.
Either Rockdale Town Hall or the RMS seem to have acquired some new lighting tech which was used with great commitment, if not complete accuracy and sense of mood. Cabaret bedazzling for Lola’s nightclub is most apt but factory scenes require lighting in such a way as the audience to be unaware of it. Charlie’s despair, the grimness of Northern life, should have a very deft touch.
And when talking of kinky boots and drag queens, we have to bow to the strutting, singing troupe that were Lola’s Angels. With flashy flair and overdone maquillage, they postured, danced, cavorted and high-kicked their way into our hearts. A wonderful credit to choreographer Tracey Rasmussen; whose overall dance design is startlingly good for what might be easily dismissed as community theatre. Her whip hand was evident not only in the cabaret scenes, but in those on the factory floor too.
I dislike that term “community” as too often it is used in such a way as to imply inferior. But community theatre gave rise to the likes of Anthony Warlow and John Bell and Nick Enright. It is that wonderful, warm nurturing place where we all start, find our passion and hone our skills. And often its standards are more demanding than the “professional” companies whose ticket prices are five times as much without giving us shows that are five times better. Rockdale Musical Society is celebrating its 80th year bringing affordable, rewarding musicals experience to the community. Let us hope another 80 years lies ahead!
Kate Stratford – Theatre Now
6 – 14 Sep 2019
Venue: Rockdale Town Hall
Theatre Company: Book by HARVEY FIERSTEIN
Music and Lyrics by CYNDI LAUPER
Duration: N/A
Full $42
Concession $35
Group 8+ $33.50
Fri & Sat 8pm
Sat matinee 2pm
By Book by HARVEY FIERSTEIN
Music and Lyrics by CYNDI LAUPER
After trying to escape his father’s low-key, family ambitions for him, Charlie Price has suddenly inherited his father’s shoe factory, which is on the verge of bankruptcy. Charlie must now face the decision of whether to pursue a new life in London with his fiancee Nicola, or return to the town in which he grew up and save his father’s dreams. Ultimately, Charlie decides to try to live up to his father’s legacy and rescue his family business, and, in doing so, he finds unlikely inspiration in the form of Lola. A fabulous drag queen in need of some sturdy stiletto boots, Lola turns out to be the one person who can help Charlie become the man he’s meant to be. As they work to turn the factory around, this unlikely pair find that they have more in common than they ever dreamed possible. With the door thrown open and the world at their fingers, Charlie discovers that when you change your mind about someone, you can change your whole world.
