What do you do when nobody’s buying what you’re selling? Change what you’re selling.
The long-running Broadway production of Kinky Boots closed last spring, but Toby’s brings back the happy romp with all its bells and whistles, and no small amount of glitter. It’s a show that uniquely suits Toby’s, one of the few in the round dinner theaters left in our area. Toby’s itself is a hardy survivor, due largely to Artistic Director Toby Orenstein, her longtime co-director Mark Minnik, and the hardworking folks in the office, backstage and onstage. This delightful production is clear evidence that work and creativity pay off: and by no small coincidence, that’s the Kinky Boots story as well.
Based on the real-life story of a men’s shoe factory in England that was going under until the owner changed its product line from traditional business shoes to boots and stilettos for the untapped niche market of drag queens. Made into a documentary in 1999, then a movie in 2005 and then a musical, in 2013, the Broadway show won six Tony awards, including Best Musical and Best Original Score for the songwriter-lyricist Cyndi Lauper.
Featuring larger-than life characters and an uplifting story of ingenuity and open minds, Kinky Boots is that unusual hybrid, a feel-good musical with depth. Centering the action is Charlie Price (Matt Hirsch), the fifth-generation owner of Price Shoes. A life changing event happens when he encounters Lola (the ebullient DeCarlo Raspberry) a London drag queen. On her way to work, Lola’s heel breaks, Charlie gets an idea and we get a chance to see two remarkable men pit their wits and skill against the status quo.
Kinky Boots closes March 22, 2020. DCTS details and tickets
Toby’s does its usual excellent job of fitting a big Broadway show into its theater in the round, while losing none of the moxie of the original. This is a show that runs on two things: plot and visuals, and Toby’s skimps on neither. It helps that the book by Harvey Fierstein does the movie one better and delves deeper into the men’s backgrounds: both had fathers that expected them to be one thing, while they, instead, became another: the ballad “I’m Not My Father’s Son”, as delivered by Raspberry and Hirsch, is deeply moving. Raspberry has a simply gorgeous voice, stage presence in buckets, and is the de facto leader whenever he’s on stage, but he’s pro enough not to then upstage anyone he’s with. It’s a part that could get alternately overblown and then too sentimental, but Raspberry reins it in when needed and pops the cork when it’s time to strut.
In addition to Hirsch, director Minnick has cast some outstanding talent. As Lauren, a factory worker with a crush on Charlie, Jana Bernard has one of the best songs in the show, “The History of Wrong Guys.” As the title suggests, it’s a highly comedic piece, and while Bernard occasionally lapses into mawkish mugging, it’s such a fun ride you won’t care. Several smaller roles also make an impression: David James as George, the factory foreman, does a grand job with the part’s few lines and fills it with delightfully raised eyebrows; and Russell Sunday, as Don, takes what is essentially a standard small-minded guy part and gives it heart.
As for visuals, it’s the Angels (Randyn Fullard, Michael Mattocks, Ariel Messeca, Soloman Parker, David Singleton, Mark Sullivan) you can’t keep your eyes off. Dressed by costumer Janine Sunday in glittery yet tasteful drag, these six-feet-plus-in heels performers just want to have fun, and you will too. As drag goes, it’s understated at times- RuPaul would certainly call for bigger eyelashes and more sequins- but in the small space, it’s both effective and appropriate. (Though it must be said that the silver skirts in one scene were short enough to see more than intended, particularly if you were seated in the first rows.) A real highlight of the show is the finale, with an homage of sorts to England: showgirly Beefeaters, coppers, cricket players, the Union Jack, an Equestrienne, and even Sherlock Homes are skewered with love and outlandish boots.
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Choreography by Mark Minnick and David Singleton has some of the Angels performing near impossible feats: who knew you could do a split in those heels – and then get back up unassisted? And you won’t miss that Broadway proscenium. Placing this show in the round means you can see everything up close.
As always, Scenic/Lighting Designer David A Hopkins knows his space. I don’t know what the square footage of Toby’s stage is, but Hopkins consistently makes the space work with subdued and atmospheric lighting; with just a few set pieces, the factory comes to life, as does Lola’s drag bar and even a runway in Italy.
If you haven’t been to Toby’s before, here is the experience in a nutshell: great food, splendidly silly cocktails with the show theme in mind, generous helpings of ice cream, the world’s best emcee (Robert Biederman 125, you absolutely must see this fellow in front of a crowd), unfailingly cheery waiters (also the actors!), a live band – live, not canned music, kids!- and the most fun out you’ve had in years.
In the words of Bette Midler: “Give a girl the right shoes and she can conquer the world.”
Kinky Boots . Book by Harvey Fierstein . Music & Lyrics by Cyndi Lauper . Director: Mark Minnick . Choreographers: David Singleton and Mark Minnick . Music Director/Orchestrations: Ross Scott Rawlings . Scenic/Lighting Designer: David A. Hopkins . Sound Designer: Mark Smedley . Production Stage Manager: Kate Wackerle . Technical Director: Emily Thompson . Costume Designer: Janine Sunday . Properties & Set Dressings: Amy Kaplan . Stage Manager: Kate Wackerle . Emcee: Robert Biedermann 125 . Cast: David Bosley-Reynolds, Jeffrey Shankle, David James, Patrick Ford, Jonah Hale, Gavin Lampasone, Joseph Wanji, Ryan Holmes, MaryKate Brouillet, Matt Hirsch, Russell Sunday, Jana Bernard, Adrienne Athanas, Dustin Perrot, DeCarlo Raspberry, Randyn Fullard, Michael Mattocks, Ariel Messeca, Soloman Parker, David Singleton, Mark Sullivan, Jane Boyle, Coby Kay Callahan, Heather Beck, Noah Beye, Coby Kay Callahan, Samantha Deininger, Shane Lowry, AJ Whittenberger.
Orchestra: Conductor/Keyboard 1….Ross Scott Rawlins, Greg Knauf, or Nathan Scavilla . Keyboard 2 .Reenie Codelka, Ann Prizzi, Catina McLauglan or Rachel Sandler Guitar 1 & 2: Oliver Dyer, Alex Green, Max Kazanow, Daniel Lewis, Rich Peralta, Kim Spath . Bass: Linda Cote, Frank Higgins, Michael Kellam, Jason Wilson . Percussion .Bob LaForce, Evander McLean, Brett Schatz, or Glenn Scimonelli . Produced by Toby’s Dinner Theatre . Reviewed by Jill Kyle-Keith.
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