Review Roundup: KINKY BOOTS Struts Back Into The West End

Inspired by a true story and based on the Miramax motion picture written by Geoff Deane and Tim Firth, Kinky Boots features a warm and witty book by four-time Tony Award-winner Harvey Fierstein and a richly diverse musical score from Grammy Award-winning rock icon Cyndi Lauper, in her stunning theatrical debut. The production is directed and choreographed by Tony Award-winner Jerry Mitchell , with music supervision, arrangements and orchestrations by Stephen Oremus.

Starring Strictly Come Dancing's Johannes Radebe as Lola and X-Factor star Matt Cardle as Charlie, this revival is directed by Leicester Curve's artistic director Nicolai Foster, What did the critics think?

Aliya Al-Hassan, BroadwayWorld: From a commerical aspect, the casting of Johannes Radebe as drag queen Lola is genius; his presence will guarantee ticket sales and for many reasons, he lives up to the hype. He sashays around the stage with huge poise and confidence, out-dancing everyone else by a mile. Leah Hill's choreography allows him to shine throughout, with rapid-fire footwork and pirouettes off stage. A brilliant addition of a mini dance-off between him and the bigoted Don (a nicely gruff Billy Roberts), is a great moment. 

Theo Bosanquet, London Theatre: In the central roles, Cardle proves predictably strong vocally even if his acting tends towards the melodramatic (notably when Charlie suddenly discovers his inner bigot), and though Radebe can’t quite match him in the singing department he more than compensates with those aforementioned moves and a performance full of integrity and heart. There’s also some strong support including Courtney Bowman as Charlie’s not-so secret admirer Lauren, Scott Paige as lovable factory foreman George, and Billy Roberts as the alpha-with-a-conscience Don (originated in the West End by the much-missed Jamie Baughan).

Alun Hood, WhatsOnStage: What he is though is a star, every inch of him (and he is the tallest person on stage by far); every aspect of Nikolai Foster’s efficient staging seems built around him, especially Leah Hill’s choreography. Perhaps unsurprisingly, the extended dance breaks are where this Kinky Boots lifts off the ground. When Radebe gets to cut loose, an electric charge crackles through the house. Radebe commands the stage, and the audience rightly adores him. Is it a a fully rounded performance? No. Will the people buying tickets specifically to see him care? Also no. That’s the magic of star quality.

Lyndsey Winship, The Guardian: Radebe isn’t a trained actor, and although he has a rich tone to his voice, singing doesn’t come as naturally to him as dancing. But the stratospheric charisma he has when he’s moving is rare: full beam at the audience, his face animates every moment, and he throws some Latin flair into Leah Hill’s upfront and versatile choreography. In contrast, Radebe delivers a moving rendition of Not My Father’s Son in almost stillness, eyes closed, and it’s a heartfelt moment.

Nick Curtis, The Standard: But oh dear, what are we to make of Matt Cardle, winner of the X Factor back in 2010, in the underwritten role of reluctant factory owner Charlie Price? The singer has done stints in musicals (Memphis, Jesus Christ Superstar, & Juliet) alongside his recording career but doesn’t seem to have picked up much technique or showmanship in the process. In terms of impact, he’s the opposite of Radebe, exhibiting what Terry Pratchett called “charisn’tma”. When Charlie’s employee Lauren (Courtney Bowman) suddenly gets the hots for her morose, seedy-looking boss you think: what, him?

Clive Davis, The Times: Robert Jones’s shop-floor design, edged with red lights, amply fills the Coliseum’s broad space; the costumes he has created with Tom Rogers are an evocative combination of glamour and workaday. Harvey Fierstein’s book avoids overplaying the uplift. There were groans from some audience members when Price let loose some homophobic slurs but what would be the point of airbrushing prejudice out of the story?

Paul Vale, The Stage: It’s a larger-than-life interpretation. Everything from Leah Hill’s pugnacious choreography to a fabulous Greek chorus of drag queens seems bigger and bolder. The Leicester Curve artistic director knows how to make this musical sing out loud and proud. Robert Jones’ set design offers a very real factory setting packed with sewing machines, reams of leather and a recalcitrant workforce, but the Milan showroom finale is a riot of light, colour and pizzazz.

Tom Wicker, Time Out: This show’s not-so-secret weapon is Strictly Come Dancing professional Radebe, who is a tornado of charisma as Lola. It’s hard to think of another role better suited for his theatre debut. Unsurprisingly, he burns up the choreography, turning the stage into a runway. But he also brings an intensity to this larger-than-life character that’s operatic in pitch and disco-fabulous in tone. And he wears the hell out of Robert Jones and Tom Rogers’ glitteringly ethereal costumes.

Average Rating: 62.5%