Interludes

THE HANGOVER REPORT – An exuberant, well-oiled KINKY BOOTS returns to New York in understandably downscaled fashion

• By drediman
• August 31, 2022
• No Comments

Last week, the Tony-winning musical Kinky Boots returned to New York at Stage 42 (formerly the Little Shubert). Although the beloved original Broadway production shuttered just three years ago in 2019 — after a healthy six-year run — it’s nonetheless a joy and pleasure to welcome back the exuberant musical, albeit in understandably downscaled fashion for its Off-Broadway outing. Based on the 2005 British film of the same name, the musical tells the story of a drag queen who saves a failing British shoe factory by inspiring its young owner to manufacture boots for a specific kind of clientele.

Director/choreographer Jerry Mitchell returns — along with other members of the original creative team — to stage this high quality, well-oiled Off-Broadway incarnation. Not only has Mitchell carefully reconstructed his original production, this Kinky Boots is overall a faster, brighter version of the show (e.g., Mitchell’s choreography is sharper and snappier than I’ve seen since the show first opened on Broadway). High on goodwill, the revival launches from the gates like a rocket ship and never looks back.

At this point, Mitchell is so familiar with the material that his truncations — namely to the sets, orchestra, and cast — are hardly noticeable. Indeed, Kinky Boots was never a visual spectacle, and all the key elements of David Rockwell’s resourceful set design remain in place, despite being a tad more two dimensional this time around. As for the downsized orchestra, it’s now more of a rollicking band, which is being wielded to brilliantly highlight the infectious bops and beats of Cyndy Lauper’s irresistible pop score.

Although Lauper’s score remains largely intact, a few modifications have been made to bring Harvey Fierstein’s book up to speed with the times (e.g., the incorporation of those “they/them” pronouns!) and tighten the overall experience. Otherwise, this Kinky Boots is basically the same production we all know and love. Indeed, for better or worse, don’t come to the revival expecting any radical departures from the tried and true mold and formula of the Broadway original.

As for the cast, they’re rock solid and veer towards the younger side. At the performance I attended, the principal role of Lola — usually played by Callum Francis, a veteran in the role — was played with spitfire pizzazz by compact and muscular understudy Nick Drake. As Charlie, Christian Douglas (calling to mind a young Gavin Creel) brings an amiable, polished energy to his portrayal. It was also a treat to see longtime cast member Marcus Neville back in the show; the actor brings unsuspecting gravitas to the underestimated role of George. But at the end of the day, the lovingly and sturdily crafted show itself is the star.

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KINKY BOOTS
Off-Broadway, Musical
Stage 42
2 hours, 20 minutes (with one intermission)
Open run