Kinky Boots (musical)
Kinky Boots is a musical with music and lyrics by Cyndi Lauper and book by Harvey Fierstein.
Kinky Boots
Cyndi Lauper
October 2, 2012: Bank of America Theatre, Chicago
Based on the 2005 British film Kinky Boots, written by Geoff Deane and Tim Firth and mostly inspired by true events, the musical tells the story of Charlie Price. Having inherited a shoe factory from his father, Charlie forms an unlikely partnership with cabaret performer and drag queen Lola to produce a line of high-heeled boots and save the business. In the process, Charlie and Lola discover that they are not so different after all.
Following the show's conception in 2006, the creative team was assembled by 2010. The original production of Kinky Boots premiered at the Bank of America Theatre in Chicago in October 2012, with both direction and choreography by Jerry Mitchell, and starring Stark Sands and Billy Porter as Charlie and Lola, respectively. It made its Broadway debut at the Al Hirschfeld Theatre on April 4, 2013, following previews that began on March 3, 2013. The musical began a US tour in 2014. The Broadway production ended on April 7, 2019.
Having initially been less well received by theatre critics and at the box office than another 2013 Broadway production, Matilda the Musical, Kinky Boots entered the 2013 awards season as an underdog. However, less than a month after opening, Kinky Boots surpassed this rival with audiences in weekly box office gross and later enjoyed a post-Tony boost in advance sales. The production earned a season-high 13 nominations and 6 Tony wins, including Best Musical, Best Actor for Billy Porter and Best Score for Lauper in her first outing as a Broadway songwriter, making her the first woman to win alone in that category. The musical's cast album premiered at number one on the Billboard Cast Albums Chart and number fifty-one on the Billboard 200 chart. Making its West End debut in 2015, in 2016, it won three Laurence Olivier Awards, including Best New Musical.
Synopsis[edit]
Act 1[edit]
Charlie Price grows up as the fourth-generation "son" in his family business, Price & Son, a shoe manufacturing company with its factory in Northampton. Another young boy, growing up in London, is as fascinated by shoes as Charlie is bored by them. But in this case, it is a pair of red women's heels that have attracted his attention, aggravating his strict father. Years pass. Charlie's father is aging and hopes Charlie will take over the factory. Still, Charlie is eager to move to London with his status-conscious fiancée, Nicola, and pursue a real estate career ("The Most Beautiful Thing").
Charlie has barely made it into his new flat in London when his father dies suddenly. Charlie hurries home for the funeral, where he finds the factory near bankruptcy. The factory makes good quality men's shoes, but they are not stylish and not cheap, and the market for them is drying up. Charlie is determined to save the factory and his father's legacy, though he has no desire to run Price & Sons himself. The workers, many of whom have known Charlie his entire life, do not understand why Charlie moved away in the first place, and many are hostile and skeptical of the new management.
Returning to London, Charlie meets his friend and fellow shoe salesman, Harry, in a pub to ask for help. Harry can only offer a temporary solution and advises Charlie not to fight the inevitable ("Take What You Got"). Leaving the pub, Charlie witnesses a woman being accosted by two drunks. He intervenes and is knocked unconscious. He comes to in a seedy nightclub, where the woman he attempted to rescue is revealed to have been the club's drag queen headliner, Lola, who performs with her backup troupe of drag dancers, the "angels" ("Land of Lola"). Recuperating from his ordeal in Lola's dressing room, an uncomfortable Charlie notices the performers' high-heeled boots are not designed to hold a man's weight. Lola explains that the expensive and unreliable footwear is an essential part of any drag act.
Charlie returns to the factory and begins reluctantly laying off his workers. Lauren, one of the women on the assembly line, explodes at Charlie when given her notice and stubbornly tells him that other struggling shoe factories have survived by entering an "underserved niche market." This gives Charlie an idea ("Land of Lola" {Reprise}), and he invites Lola to come to the factory to help him design a women's boot that can be comfortable for a man ("Charlie's Soliloquy"/"Step One").
Lola and the angels arrive at the factory, and she is immediately dissatisfied with Charlie's first design of the boot. Quickly getting the women of the factory on her side, she draws a quick design of a boot, explaining the most important factor is by far the heel ("The Sex is in the Heel"). George, the factory manager, realizes a way to make her design practical. An impressed Charlie begs Lola to stay until a prestigious footwear show in Milan in three weeks to design a new line of "kinky boots" that could save the factory. Lola is reluctant since she is already receiving crass comments from Don, the factory foreman, and some of the other factory workers but is flattered by Charlie's praise and finally agrees.
Charlie announces that the factory will be moving ahead with production on the boots. He thanks Lauren for giving him the idea and offers her a promotion. She accepts and is horrified but thrilled to realize she is falling for him ("The History of Wrong Guys").
The next day, Lola shows up in men's clothes and is mocked by Don and his friends. An upset Lola takes refuge in the bathroom, and Charlie attempts to comfort her. Lola explains that her father trained her as a boxer but disowned her when she showed up for a match in drag. The two discover their similarly complex feelings toward their fathers, and Lola introduces herself by her birth name: Simon ("Not My Father's Son").
Nicola and her boss Richard Bailey arrive from London and present Charlie with a plan for the factory that Richard has drawn up: closing it and converting it into condominiums. Charlie refuses but is shocked to discover that his father had agreed to this plan before he died, presumably because Charlie was not there to run it. He refuses to sell, and soon the workers are celebrating as the first pair of "kinky boots" is finished ("Everybody Say Yeah").
Act 2[edit]
Some of the factory workers are not enthusiastic about the radical change in their product line. Some of them, especially the intimidating Don, make Lola feel very unwelcome. Lola taunts him back, enlisting the female factory workers' help to prove that Lola is closer to a woman's ideal man than Don ("What a Woman Wants"). Lola presents Don with a unique wager to see who is the better "man": Lola will do anything that Don specifies if Don will do the same thing for her. Don's challenge is for Lola to fight him in a boxing match at the pub. Charlie, remembering Lola's background, is horrified. Lola easily scores against Don in the ring but ultimately lets Don win the match ("In This Corner"). Afterward, Don asks why she let him win, and Lola replies that she could not be so cruel as to humiliate Don in front of his mates. She gives him her part of the challenge: "accept someone for who they are."
Charlie is pouring his own money into the factory to ensure it will be ready in time for Milan, and he is getting frantic that the product is not right, angrily forcing his staff to redo what he considers to be shoddy work. Nicola arrives, fed up with Charlie's obsession over the factory, and breaks up with him. Lola has been making some decisions about production and preparations without consulting Charlie. When he discovers that she has decided to have her angels wear the boots on the runway rather than hiring professional models, an overwhelmed Charlie lashes out at her, humiliating her in front of the other workers. Lola storms out, and the factory workers go home. Alone, Charlie struggles with the weight of his father's legacy and what it means to be his own man ("Soul of a Man").
Lauren finds Charlie and tells him to come back to the factory. It is revealed Don has persuaded the workers to return to work and to sacrifice a week's pay to ensure the boots can be finished in time for Milan. Charlie is astonished and grateful and asks if Don has paid up on his wager by accepting Lola. Lauren explains that the person that Don has accepted is Charlie himself.
As he heads to the airport for Milan, Charlie leaves a heartfelt apology on Lola's voicemail. Meanwhile, Lola performs her act at a nursing home in her home town. After she leaves the stage, she speaks to her dying father, who uses a wheelchair, and reaches a sense of closure ("Hold Me in Your Heart").
Charlie and Lauren arrive in Milan. But without models, Charlie is forced to walk the runway himself. Lauren is thrilled by his dedication ("The History of Wrong Guys (Reprise)"), but the show threatens to be a disaster. Just as all seems lost, Lola and her angels arrive to save the day. Lauren and Charlie share their first kiss, and the whole company celebrates the success of the "Kinky Boots" ("Raise You Up/Just Be").
Productions[edit]
Chicago[edit]
On February 6, 2012, the Chicago Tribune reported that Kinky Boots' producers were considering taking advantage of an incentive program from the State of Illinois for out-of-town tryouts for Broadway shows.[41] The October 2012 pre-Broadway Chicago tryout was announced on February 22, 2012.[42][43] On June 28, 2012 the full Chicago cast was announced.[44] The production was rehearsed at the New 42nd Street Studios in New York City in September 2012. The show began its pre-Broadway run at the Bank of America Theatre in Chicago, on October 2, 2012, which continued until November 4, 2012.[9][17][45] The show was directed and choreographed by Mitchell; scenic design was by David Rockwell, costumes by Gregg Barnes, lighting by Kenneth Posner and sound by John Shivers. The music director and orchestrator was Stephen Oremus. The director and design team had gained previous critical acclaim and theatre or music awards. Mitchell had won a Tony Award for choreographing the 2005 revival of La Cage aux Folles; Barnes and Posner had won Tonys; and Rockwell had been nominated for Tonys and other theatre awards.[16][17][18]
Mitchell and Rockwell had previously collaborated on Hairspray, Catch Me If You Can and Legally Blonde.[46] Mitchell told The New York Times that the "Everybody Say Yeah" scene, in which the cast celebrates the creation of the first pair of Kinky Boots with a choreographed celebration on conveyor belts, required repeated innovations and adjustments like the eventual addition of safety rails and actor controls for the apparatus.[47] Designer Derek McLane commented that it is not uncommon for repeat choreographer/set designer collaborations to result in intriguing innovation like the conveyor belt dance scene in Kinky Boots. McLane was impressed with the "series of conveyor belts that came apart, moved around, and fit the context of the story" in order to accentuate the choreography of "a troupe of men in four-inch heels". With respect to the conveyor belts, he said, "They've never been used as dynamically as this, creating a series of surprises, with the kind of wild athleticism that actually looks dangerous. It's one of the more thrilling combinations of stage design and choreography that I can recall."[46]
Critical reaction[edit]
Upon its October 2012 Chicago opening, Chicago Tribune critic Chris Jones described the show as a "warm, likable, brassy, sentimental, big-hearted and modestly scaled" production.[115] Another reviewer praised the score, book, direction and, particularly, Porter, before suggesting that, before opening on Broadway, it could use a more effective opening number, better pacing in Act 2 and "the budding romance between Charlie and coworker Lauren ... needs more lead-in. In other words, give Ashford, a clear crowd favorite, more to do".[51]
The musical's Broadway debut received mixed to positive reviews.[116] The show was awarded a "Critic's Pick" designation by The New York Times, Time Out New York and New York Magazine, and was included in Entertainment Weekly magazine's "Must See" list.[117]
Ben Brantley of The New York Times gave a warm review, calling it "inspired" and comparing the work to other successful recent Broadway musicals: "Like The Full Monty (choreographed by Mr. Mitchell) and Billy Elliot the Musical, it is set in a hard-times British factory town, where jobs are in jeopardy and spirits need lifting. Like La Cage aux Folles and Priscilla Queen of the Desert, it presents drag queens as the show’s official spirit lifters. And like Hairspray, the musical this production most resembles in tone, Kinky Boots is about finding your passion, overcoming prejudice and transcending stereotypes."[118] Brantley wrote that Lauper's "love- and heat-seeking score" wowed with her "trademark ... mix of sentimentality and eccentricity", and that the costumes and boots courtesy of Gregg Barnes made for "big red scene stealers". He also praised “Raise You Up/Just Be,” as "one of the best curtain numbers since 'You Can't Stop the Beat' sent Hairspray audiences dancing out of the theater.” Brantley, however, did not extend his praise to Fierstein's script, writing that his "sticky, sermonizing side" comes through in the second half, where "all the clichés stand naked before you."[118]
The theatre critic for Time Out New York called the show "the very model of a modern major musical."[119] The Associated Press termed it "a big ol’ sweet love story about sons, the families we make and red patent leather. ... Thank goodness for Harvey Fierstein – he spins theatrical magic", but despite criticisms of the script the “perpetual cheer-churning machine” that is Kinky Boots certainly serves an important end goal; to empower not just its central characters, but the entire audience, in the spirit of acceptance.[120] According to Julie Grossman, Kinky Boots facilitates the retraining of the eye to gender conventions and “repositions the marginalised figure as central to the spectacle of mass theatre... enacting a shift in the perspective of the viewer”.[121] The finale “Raise You Up/Just Be” epitomises the empowerment of the individual, empowerment to “Just Be” regardless of the “oppressive gender roles directly connected to patriarchal views of legacy and inheritance”[122] under which Charlie and Lola initially suffer. Entertainment Weekly said "Cyndi Lauper's infectious score is cause for celebration."[123] New York Magazine,[124] The Washington Post[125] and Variety all gave mostly favorable reviews.[126]
Los Angeles Times theater critic Charles McNulty criticized Lauper's "novice mistakes" with a score that "never establishes a compositional through line" and saying that while "Fierstein's heart is in the right place ... the show's earnestness sinks it", adding that "if [the show] weren't such a cheesy commercial mess, it might actually be fun".[127] Joe Dziemianowicz of the New York Daily News wrote that while the "script has issues like a pair of shoes" that don't quite fit, "Mitchell's production moves lickety-split" and "Porter ... is a force of nature as Lola." But, he added, Lauper's "multicolored, surprising and fun" score outshines the fancy footwear and proves to be the "real star of this show".[50] Writing for The Guardian, David Cote noted that the decision to use American actors for an adaptation that maintained the Northampton setting resulted in a disconcerting inconsistency in terms of accents.[128] The Wall Street Journal gave the show a negative review, calling it "an imitation heart-warming British working-class musical with a gay angle and a maudlin ending. ... Kinky Boots is its own spoiler alert, the kind of musical in which you recite the dialogue a half-beat ahead of the actors. ... [the score] sounds like ... "Cyndi: The Deservedly Forgotten Late-'80s B-Sides."[129] A review in The Bergen Record said that the show "sorely lacks is a dramatic commitment to what it's doing. Which is why a show that seems to make few false steps is so relentlessly tedious," calling it "dull" and "synthetic".[130] Talkin' Broadway also gave the show a negative review.[131] The Village Voice,[132] AM New York,[133] and NBC turned in lukewarm reviews.[134]
In 2014, Kinky Boots began a United States national tour, which has also garnered mostly positive reviews.[135] Democrat and Chronicle[136] raved, “Flashy, funny and uplifting, Kinky Boots has appeal — and lots of it — for all ‘ladies, gentleman and those who are yet to make up their mind.’” BroadwayWorld Los Angeles[137] offered “praise to the entire triple threat ensemble!“ The Republic[138] countered, “Despite the fiery showstopper 'Sex Is in the Heel,' however, Kinky Boots is surprisingly short on sex appeal, and the cheerleaderish troupe of drag queens called Angels don't have any of the transgressive appeal of the Cagelles from Fierstein's earlier hit La Cage aux Folles." CBS Minnesota[139] summed it up as “loud, proud and a tubular sensation.”
The London production received mostly raves, with the London Evening Standard writing, "The thigh's the limit for this high-kicking London musical," calling it "a glorious high-kicking romp," and adding that "...its energy is infectious."[140] Time Out London called it "dazzling, fabulously sassy and uplifting," explaining "It's not all glitz and high-kicks...there are some grittier moments that give the show an edgier feel."[141] And Digital Spy proclaimed it "hilarious, heartwarming, and a hell of a lot of fun," offering special praise for the show's star: "Matt Henry...truly steals the show...He is utterly commanding in the role, and you instantly root for him."[142]
It has been argued that Kinky Boots has added to the public discourse of gender, and its flexibility and fluidity. The prevalence of drag culture in mainstream media has introduced a step of separation between femininity and being female.[143]
Collaboration[edit]
In summer 2018, a Kinky Boots co-branded pop-up store launched at Mellower Coffee's Tongren Road location in Shanghai. Mellower Coffee has specially made a "Sparkle Dance" drink for this event.[166]