There’s no denying that Kinky Boots is a feel-good crowd-pleaser. The standing ovation on the second night of the Edinburgh leg of its UK tour is testament to that.

But for a musical which has garnered six Tony and three Olivier awards, it’s surprising that there are few standout numbers. Sure, the sentiment behind each song is clear and memorable, and they succeed in driving the plot and developing character, but the actual lyrics and choruses are less so. Perhaps explaining why a group of teenagers were heard singing a Take That track rather than one from the show on departure.

What makes Harvey Fierstein’s book and Cyndi Lauper’s music and lyrics so appealing, though, is the size of the heart (not to mention the balls) of the loud and proud drag queen Lola (an adorable and ravishing Kayi Ushe) who in refusing to stick to the straight and narrow path as laid down by her controlling father, takes a walk on the Lou Reed wild side to be who she wants to be. Or as Oscar Wilde is said to have quipped: “Be yourself. Everyone else is already taken.”

A journey mirrored by the reluctant heir to a failing shoe-making business Charlie (an endearing and accomplished Joel Harper-Jackson) who swaps following in the footsteps of his stern father and fiance to follow his heart and help his fellow-man. Namely, his hard-working staff who are in danger of losing their jobs and hard-as-nails drag queens who are in danger of losing their footing.

There are a few cracking one-liners: “Fags got him in the end” being Lola’s droll description of her father’s death from lung cancer. The utilisation of factory conveyor belts as a catwalk finale to the first act is an inspired choice by designer David Rockwell. Gregg Barnes’ costumes sparkle like a twink in Heaven. And Demitri Lampra and Paula Lane are in fine comedic form as the judgemental-turned-accepting Don and looking-for-love Lauren.

Though the stars of the show, without a shadow of a beard of doubt, are Kayi Ushe as Lola and her glamorous Angels whose captivating presence is summed up by the following compliment which also highlights the show’s greatest strength and weakness: “Whenever you leave a room, there is always a great big gaping gap.”

Peter Callaghan
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