Review: KINKY BOOTS at Proctors

Kinky Boots brought the fun to Proctors. This touring production is filled with many high points that captivate the audience. The story follows Charlie Price, who inherits his father’s shoe factory, which is on the brink of financial ruin. When Charlie runs into Lola, the sensational drag entertainer, he finds inspiration to save his business. Lola is in need of well-made, sturdy stilettos, and Charlie believes this niche market of drag entertainers is just what he needs to turn the business around and live up to his father’s legacy. Though Charlie and Lola are an unlikely pair, they find that, at their core, they share many similarities. By working together, they can open their minds and find success. Kinky Boots is a beautiful cocktail of Harvey Fierstein’s book filled with humor and heartwarming moments, and is dazzled with Cyndi Lauper’s blend of electric pop-funk numbers and emotional ballads. 

Charlie Price is portrayed by Noah Silverman. He is certainly one of the vocal highlights, with every solo being a masterclass in texture, blending punk-rock with musical theatre. His sound is original and unique, and yet perfectly suited for the somewhat generic character. 

Lola is brought to the stage by Omari Collins, who is also known as Scarlett D. Von’Du in the drag scene. Collins is exceptional and dynamic as Lola. He has an intoxicating stage quality that oozes out of him, and this role is perfect to play into his strengths as a performer. The show came to life when Lola arrived. While Lola is an exhilarating personality, Collins is able to lean into the tender moments showcased as Simon, Lola’s out-of-drag self, but also during all of Lola’s vulnerable scenes. “Not My Father’s Son" is a duet performed by Lola and Charlie toward the end of the first act, which was pivotal in showcasing the similarities between characters, and it is executed flawlessly. The audience seemed very partial to Collins’ rendition of “Hold Me in Your Heart” as well, which is another intimate moment that is sure to pull on the heartstrings. 

The big ensemble numbers are all great as well, especially when the Angels come out on stage. The energy is palpable when a drag queen is performing, so of course this is no different. The Angels all did well, but the choreography, recreated by Rusty Mowery, seemed to be watered down in comparison to what one expects in high energy numbers. Though disappointed by the choreography, I was rather in awe of the staging and use of the set. Director, DB Bonds, did a job well done. David Rockwell’s scenic design was brilliant, utilizing moving structures and several fly pieces. It’s simple, industrial, and everything it needs to be. I must also commend the lighting design by Kenneth Posner, which was accurate and dazzling.

A perfect mix of direction and performance is seen in “The History of Wrong Guys” which is done by Sophia Gunter, who plays Lauren. Lauren, a factory worker and longtime acquaintance of Charlie, provides an incredibly comedic, albeit relatable, performance as she feels the spark of a crush igniting for Charlie. This is absolutely the shining moment throughout the production, and is reason alone to see the show. 

My only real qualm with the production was the audio mix. The orchestra was far too loud, often drowning out the performers. The microphones on the performers were fuzzy, muddling the diction of the English accents. This made dialogue difficult to understand and, if you were unfamiliar with the story, it was hard to catch on. Unfortunately, this makes the script’s comedic moments unclear.

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