Broadway sensation Kinky Boots has kicked its way into the Stanley Theatre and my opinion of this production is: Shantay, you stay! (as RuPaul would say). Presented by Arts Club Theatre and under the wise direction of Barbara Tomasic, this staging of the Tony Award-winning musical offers high-energy, wit, poignancy, and above all else, an uplifting and inspirational message.
Based on the 2005 British film of the same name, and featuring a book by Harvey Fierstein and score by Cyndi Lauper, the story follows the journeys of Charlie Price and Simon. Charlie is the son of the owner of a shoe manufacturing company and has always been under pressure to eventually take over the family business; Simon grew up struggling to express his true self under the disapproving watch of his father, and is now a drag queen named Lola.
When Charlie’s father passes away, he leaves London to return home to Northampton to fulfill his duty of taking over the business, only to learn the company is on the verge of closing. When Charlie crosses paths with Lola/Simon, he realizes that Lola/Simon can be key to helping the Price family business recover, saving the jobs of all its workers. Along the way, both individuals discover they can help each other find their true selves and unapologetically live their best lives.
Sayer Roberts and Stewart Adam McKensy are a terrific pair as Charlie and Lola/Simon. Roberts completely embodies the persona of a sensitive soul struggling to remain loyal to his friends and factory employees, while wanting to innovate and open the minds of everyone to inclusion and diversity – including his own mind. Roberts is a fine singer and encapsulates Charlie’s struggles in his rendition of “Soul of a Man”. He also moves well and show’s Charlie’s playful side in the fantastic group numbers, which include “Everybody Say Yeah” and “Raise You Up".
Sayer Roberts and Stewart Adam McKensy lead the cast as Charlie and Simon/Lola. Photo credit: Moonrider Productions.
McKensy is sensational and truly well-rounded as Lola/Simon. He’s bold and cheeky in his portrayal of Lola, offering fierce vocals and dance moves in “Sex is in the Heel” and “Land of Lola”; but he also delivers raw and beautiful emotions in “Not My Father’s Son” and “Hold Me in Your Heart”. Like his emotional range, McKensy’s vocal ability is exceptional, and he doesn’t give it all away at first. Just when we thought we’ve seen all he has to offer, he practically blows the roof off the house in his delivery of “Hold Me in Your Heart” mid-way through act two.
Kelli Ogmunson dazzles as factory worker Lauren. With her rock-star vocals, and quirky and charming persona, she’s fun to watch. Her solo “The History of Wrong Guys” is a highlight of this production. Special mention must also be made of the Angels, Lola’s crew of sassy drag queens who really “werk”, performing Julie Tomainos’ stylish choreography with a level of attitude, skill, and polish that’s Drag Race-worthy.
I’d also be remised if I didn’t commend the inventiveness of Tomanio’s choreography, incorporating drag, voguing, and Broadway jazz. One little bit that I found very entertaining was when two Angels offered their legs to serve as posts in a makeshift boxing ring.
Pam Johnson’s functional set effectively brings us into settings such as the multi-level Price shoe factory, as well as a sleek fashion runway in Milan, working in tandem with John Webber’s lighting design. In particular, I enjoyed the glowing visual of the fashion runaway.
Johnson offers some resourceful creativity in her set design, still allowing for a taste of the iconic factory conveyer belt that audiences who’ve seen the Broadway, West End, or touring productions will be familiar with. While a full-scale replica of this conveyer belt was likely not feasible at the Stanley Theatre, the version that Johnson has designed, in collaboration with Tomasic and Tomainos’ staging, works very well and actually allows for some great innovations.
One of these innovations is a fun, fresh angle of cast members strutting their stuff down the conveyer belt during “Everybody Say Yeah”. We see principal characters, Angels, and factory workers alike, grooving down the conveyer belt as if it were a runway, and serving up some excellent dance moves. Highlights include dance captain Makayla Moore’s inventive back aerial before leaping off into the arms of two cast members; and Jocelyn Gauthier’s (who doubles up as Charlie’s fiancé Nicola as well as factory worker) high-flying Russian split jump off the end.
Lola (played by McKensy in the centre) and the Angels. Photo credit: Moonrider Productions.
From what I remember of the Broadway tour, the Angels dominated the spotlight in all the big group numbers, which was fine, as their impressive tricks and dancing was dynamite. But a major part of what I l admire about the Arts Club production is how Tomaino has created a space of inclusion in these dance numbers. We see a stage full of different generations and genders all sharing the spotlight and lighting up the stage.
While I enjoyed seeing the Angels and some of the factory workers deliver some impressive tricks and dance moves, what I loved the most was witnessing the genuine, heartfelt bliss from all the performers onstage. Watching renowned theatre icon Colleen Winton dance alongside the Angels really warmed my heart. Everyone looked like they were having the time of their lives onstage, not just acting.
The show’s finale, “Raise You Up/Just Be” is inspirational and uplifting, and for myself, it’s a highlight among all the theatre performances I’ve ever seen. As I walked out of the Stanley Theatre, I noticed many other audience members smiling and in great spirits. And so, what stood out for me the most about Arts Club’s version of Kinky Boots is its message of celebrating inclusion, diversity, and the freedom to live our authentic lives with pride.
Arts Club Theatre Company’s Kinky Boots runs until July 31 at the Stanley Theatre. Visit the Arts Club’s site for more information and tickets.