3 June 2023 I 19:30 I Theatre Royal, Nottingham
⭐⭐
Before seeing this production of Kinky Boots, presented by Carlton Operatic Society, I had never come across the show, initially thinking it would be right up my street. Though I left feeling very divided, my opinion of the show largely falling with the original scripting.
Needless to say there are still many positives to mention for the show. The overall message is one of acceptance, and finding yourself within a cruel world you can rise against. It is very uplifting, and particularly with the art of drag coming under attack in recent weeks, this musical feels all the more relevant and important for the community. Proceeds go towards the Notts LGBT+ Network, providing a safe space for all those concerned, such an important charity for young people today and inspiring to see change being made.
The audience absolutely fall in love with Steffi Moore's Lola, erupting into applause with every entrance and exits. The atmosphere is quite relaxed, thus at times struggling to get serious themes across due to an overexcitement towards the drag artists. Yet Moore is a definite favourite, and there is no wonder why! Lola/Simon's character is so refreshing and empowering alongside her Angels, every number (notably Sex Is In The Heel) is a real crowd pleaser, and so feel good. Drag is one of the most challenging art forms to present onstage, so huge credit to these performers. However, I would have loved to have seen a tad more confidence infused within their characters to refrain from an awkwardness, where the boldest figures in the room call for immense energy. Enjoyable to watch, just craving more punch to show us why drag queens should not be messed with! Cyndi Lauper's music & lyrics maintain a really cohesive link, flowing nicely as the show progresses. The soundtrack hones in on the expression of performance, but also that which goes on behind closed doors.
Kinky Boots is a figurehead of the queer musical scene. As a contemporary stage musical premiered in 2012, it quickly became a favourite amongst fans. To some extent, the celebration of drag queens is glorious for bettering awareness of the profession. Although some of the jokes, albeit few, find themselves to hold damaging views towards the LGBTQ+ community. Some scripting features are used in dialogue to confront the ignorance of men such as Don's attitude (Cliff Hart), powerful in bringing these conversations to light. Occasional lines from the script make me feel uncomfortable while watching, casting harmful stereotypes on the transgender community, and those who conform outside of the binary. This view has been expressed during other productions of the musical. These are perceived as comedic, though I believe it is appropriate these should be addressed, as audiences wail with laughter at oversimplified forms of bigotry. These outdated attitudes can be damaging to a community that the show aims to represent. I really wanted to enjoy this show, but this wouldn't sit right with me, as such a tour de force musical has become extremely outdated for today's audience.
I don't want this to take away from Rachael Rees' direction of the show, with a really talented cast, stunning vocals and a wonderful spirit. Mark Coffey-Bainbridge as leading man Charlie really takes the show by storm. It'd be a delight to see him in future shows, as he wouldn't be out of place in the West End! Incredible vocals and enunciation throughout, and his attention to Charlie's conflicting character is very emotional. I would certainly echo the same with Cathy Hyde portraying Lauren, The History Of Wrong Guys between the pair is the highlight of the show for me. Hyde's comedic timing and facial expression are brilliantly funny, worthy of plenty of belly laughs! Her childish nature really makes you smile, with the reflection of not taking things too seriously. The moments where the whole ensemble come together in unison are certainly the bits I will remember most from this evening. Where Kinky Boots is its strongest is when the actors unite through the music, gifted to us by an amazingly talented live band!
This musical is loosely enjoyable in its structure, and some moments are pure euphoria from Carlton Operatic Society, who produced and put time into an empowering show. The finale of Raise You Up proves a great moment that the audience can all enjoy and celebrate queer history, especially with the brilliant costumes featured. Following a true story, Harvey Fierstein's writing doesn't contain enough heightened elements to be truly investing plot, though adjustments to the script could hugely benefit the show's accessibility.
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