Review: KINKY BOOTS at Capital One Hall

“Get your freak/kink on” and show your tolerance for all---seems to be the message of the eternally popular musical plea for acceptance and inclusivity that constitutes the musical Kinky Boots.

The original direction of this pleasurable musical by Jerry Mitchell is recreated by DB Bonds –I assume this is because this is a non-equity show and there may be touring requirements/logistical requirements for this change. In any event, this revival of Kinky Boots is more effective and focused than the productions I have seen in the past –the ensemble works together like a well-oiled machine. 

The music and lyrics by the talented Cyndi Lauper and the tone of the piece is upbeat and pleasing ---occasionally, encased with generic tropes and a safe approach to gaining tolerance for the drag culture community only incumbent on collaboration with the straight Charlie who inherits his father’s shoemaking factory. The musical portrays two girlfriends for our straight hero, Charlie ---but conveniently leaves out any details of an intimate life for drag queen Lola--- thus, highlighting its decidedly mainstream appeal.

One aspect of this musical seems to be that there can be bonding between two people who are struggling to “find themselves” with an emphasis on trying to establish a deeper connection with their fathers (a very poignant scene with Lola and her father in a nursing home is portrayed). Charlie’s decision to make the hard choice to build up his father’s business rather than to see the business sold and made into condominiums is nicely developed in the book by Harvey Fierstein.

The main through-line of this musical is the life -affirming story of loyalty between two individuals (Charlie and Lola) who bond together based on their decision to collaborate on their individual love of footwear and to develop “kinky boots” ---–for as the song says: “Sex Is in the Heel.”

Omari Collins “Scarlett D. Von’Du” as Lola sings with beautiful tone and emotion in two phenomenal musical numbers ---“Land of Lola” and “Hold Me in Your Heart”.  The searing and soul-baring  “Hold Me in Your Heart” is a highlight of the production for Omari Collins “Scarlett D. Von’Du” sings with such thrilling expressiveness.

Noah Silverman as Charlie “knocks it  out of the park” in his scorchingly heartfelt rendering of what it means to have the “Soul of a Man.” Mr. Silverman has a natural authority and command of the stage that impels attention.

Sophia Gunter as the disarming and comic yet poignant character of Lauren sings of picking the wrong partners in “The History of Wrong Guys.”

Lola’s antagonist, Don--played by Jason Daniel Chacon—excels in his mercurial acting style.

The lighting and texture of the song “In This Corner” which portrays a boxing match between Charlie (Noah Silverman) and Don (Jason Daniel Chacon) has marvelous lighting (that reminded me of the classic George Bellows’ paintings of boxing).

This touring production lists the choreography that was originally created by Jerry Mitchell as recreated by Rusty Mowery is vigorous and eye-catching. Colorful set/ensemble pieces  such as “The Most Beautiful Thing in the World”, “Everybody Say Yeah” and  “Raise You Up/Just Be” showcase this recreated choreography to the hilt.

The original music and lyrics by Cyndi Lauper are enticing to the ear as one knockout of a song is followed by another to nicely develop the arc of the very solid Harvey Fierstein book. Ms. Lauper’s music has the feel of light pop and rock underscoring a larger, up-tempo Broadway sound. There is a sly wit combined with hearty pathos in several of the songs.

Harvey Fierstein’s book is given utmost respect in this production. I have reviewed this production before and have seen it another time as well but, in this production, there is a tangible, unified feeling of utmost respect for each member of the ensemble. 

There is an obvious intimate transmission of the emotions from the actors to the audience that transcends the large Capital One Hall venue—each line of the book carried clearly over the large Hall –which is no small feat (credit the sound design by Gareth Owen).

Not as edgy as the popular and similarly upbeat musical Hairspray, I do see similarities in both of these musical’s message to be forgiving, tolerant, and non-prejudicial. Kinky Boots is decidedly played with broader strokes and sometimes played a bit too carefully to avoid offending anybody.

Scenic Design credited to David Rockwell is visually spellbinding in a couple of numbers such as the red -lit blazing neon of “Land of Lola” and the jubilance of “Everybody Say Yeah.”

There is a very creative use of the stage----a two-tiered platform set allows for expansive movement at concurrent times ---and there is an atmospheric facsimile of a factory building (Price and Son) as well as an impressive runway scene that conveys the vivid, bright colors of the boots and costumes that are worn by the “Angels” who walk the runway in Milan (kudos to Costume Designer Gregg Barnes).

Lighting design by Kenneth Posner is atmospheric and illuminating.

If you are interested in a pleasant retreat from the chills of this challenging and wintry world, do not miss the respite that is the touring production of Kinky Boots.

Running Time: Two Hours with one twenty-minute intermission

Kinky Boots was presented on January 31, 2026 and February 1, 2026 at Capital One Hall located at 7750 Capital One Tower Road, Tysons, Virginia, 22102. 

Photo credit: The company of the North American Tour of Kinky Boots.