Glitter and glitz have always been staples on Broadway.
So too have flash, dazzle, bright lights and high-kicking choreography.
It's all part of the Great White Way.
So no one should be surprised to find all that in a new Broadway musical even if it is embodied in half a dozen real, live drag queens. After all, this is a Harvey Fierstein musical and Fierstein specializes in his own style of "dress up" roles from Torch Song Trilogy to La Cage Aux Folles to Hairspray.
Now, Fierstein has written the book for Kinky Boots, a new show with music and lyrics by Cyndi Lauper. The show is based on the 2005 British movie of the same name.
Well, Broadway is awash in movie-inspired musicals right now and this continues the trend with a story about a drag queen who comes to the rescue of a man who, after inheriting his father's shoe factory, needs to diversify his product if he wants to keep the business afloat. Thus, Kinky Boots.
The show has kept the basic story which incorporates unexpected twists and politically-correct lessons about diversity, tolerance, being yourself and pursuing your dreams.
This is a high-energy show throughout but at it's core it's all propelled by one man: Billy Porter as the flamboyant drag queen cabaret singer, Lola. Billy Porter is electrifying and he's giving the performance of the year in this show. He acts, sings, dances, leaps, growls, shouts, struts, saunters and simmers his way to incandescent stardom here. Make no mistake about this: Billy Porter deserved the Tony Award for his performance. He alone is reason enough to see the show.
But this should in no way take away from the performance of the boyishly charming Andy Kelso who gives us an endearing turn as the son (and accidental businessman) who tries to save his father's shoe factory. In fact, the show reaches its soulful core when Billy and Stark sing "I 'm Not My Father's Son." Amidst much shrillness, this song gives the show an emotional depth of meaning that's sometimes lacking elsewhere. It's absolutely beautiful -- a poignant, heartfelt ballad you won't soon forget.
And let's not overlook Jeanna De Waal as Lauren who performs a virtual one-act play when she sings "The History of Wrong Guys," a song nearly ever woman can relate to. It's a tour de force.
At several points during the show the applause is gleeful and sustained.
The music and lyrics from Cyndi Lauper are the best that Broadway has heard in some time. But sadly, the sound seems not-quite-orchestral-enough for Broadway. Curiously, it's often loud and tinny at the same time. There are moments that cry out for a sound that's more lush but it's just not there.
Director/Choreographer Jerry Mitchell has given us soaring inventive moments (most notably a nice bit of business on several conveyer belts) that are sometimes reminiscent of the great Tommy Tune. It's fun to see this kind of eye-popping movement on stage once again.
And all this brings us back to where we started: Razzle-dazzle as defined by vivid hues, flamboyant costumes and ultimately, the kinkiest boots you ever saw. Yet, since all of this happens in a dingy little factory in the industrial town of Northamptom, the show is sort of schizophrenic. It swings back and forth between glitz and grime, sequins and soot. And that's the struggle here. Maybe there's a bit too much Billy Elliot and not enough La Cage.
Not to worry, this still head and shoulders above most of the shows that opened on Broadway this year. And, the talent here is hugely impressive with fresh, new music and choreography and a heart-tugging story that does manage to win you over when it isn't so obviously preachy.
So, does all that makes Kinky Boots (which has garnered six Tony awards) Broadway's sentimental favorite to run indefinitely? It would certainly seem so.
These boots are made for gawkin! Go ahead and gawk.
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