Kinky Boots (musical)
Chicago preview promotional poster
|Basis||2005 film Kinky Boots|
2014 US Tour
|Awards||Tony Award for Best Musical
Tony Award for Best Original Score
Kinky Boots is a musical with music and lyrics by Cyndi Lauper and a book by Harvey Fierstein. Based on the 2005 film Kinky Boots, which was inspired by a true story, the musical tells of a struggling British shoe factory's young, straitlaced owner, Charlie, who forms an unlikely partnership with Lola, a drag queen, to save the business. Charlie develops a plan to produce custom footwear for drag queens and kings, rather than the men's dress shoes that his firm is known for, and in the process, he and Lola discover that they are not so different after all.
Following the show's conception in 2006, the creative team was assembled by 2010. The original production of Kinky Boots premiered at the Bank of America Theatre in Chicago in October 2012, with both direction and choreography by Jerry Mitchell, and starring Stark Sands and Billy Porter as Charlie and Lola, respectively. It made its Broadway debut at the Al Hirschfeld Theatre on April 4, 2013 following previews that began on March 3, 2013. The musical is expected to begin a US tour in 2014.
Having been less well received by theatre critics and at the box office, initially, than another 2013 Broadway production, Matilda the Musical, Kinky Boots entered the 2013 awards season as an underdog. However, less than a month after opening, Kinky Boots surpassed this rival with audiences in weekly box office gross and later enjoyed a post-Tony boost in advance sales. The production earned a season-high 13 nominations and 6 Tony wins, including Best Musical and Best Score for Lauper in her first outing as a Broadway songwriter, making her the first woman to win alone in that category. The musical's cast album premiered at number one on the Billboard Cast Albums Chart and number fifty-one on the Billboard 200 chart.
Background and creation
Kinky Boots is based on the 2005 British film of the same name, which was, in turn, inspired by a 1999 episode of the BBC2 documentary television series Trouble at the Top. It followed the true story of Steve Pateman, who was struggling to save his family-run shoe factory from closure and decided to produce fetish footwear for men, under the brand name "Divine Footwear". Daryl Roth, a Tony Award-winning producer, saw the film at the 2006 Sundance Film Festival and fell in love with its "heart and soul". She felt that its themes resonated and thought that the story had potential as source material for a musical. Independently, Hal Luftig saw the film in London and agreed "that its heart and humanity (and bigger-than-life leading 'lady') would translate well to musical theatre." Within a year, Roth secured the rights to adapt the film to the stage and partnered with Luftig, a Tony and Olivier Award-winning producer.
By mid-2008, Roth and Luftig were in discussions with a potential director, Jerry Mitchell, but they still had not found writers. When Roth sent Mitchell the DVD of the film, he was enthusiastic about it. Roth and Luftig hired Mitchell to direct and Harvey Fierstein to write the book. Mitchell knew that Fierstein and Cyndi Lauper were friends, and he thought they would make a good team to create the musical. Fierstein agreed and eventually approached Lauper to write the songs because he "saw in the adaptation an opportunity to work with someone with a big musical range, 'somebody who could write club music,' ... along with show tunes." Lauper joined the creative team in June 2010. Lauper's last project before Kinky Boots had been the album Memphis Blues, while Fierstein was working on Newsies when he began Kinky Boots. The work marked Lauper's debut as a musical theatre songwriter, although she had some theatrical experience, having performed on Broadway in the 2006 Roundabout Theatre Company production of The Threepenny Opera. Among Fierstein's prior experiences were works about drag queens: La Cage aux Folles and Torch Song Trilogy. Lauper has said that she identifies with drag queens.
Fierstein and Lauper had both gained previous critical acclaim and honors in their respective fields. Fierstein had won four Tonys: acting and writing awards for Torch Song Trilogy, an acting Tony for Hairspray, and one for writing the book of La Cage; Lauper is a chart-topping singer-songwriter and actress who had won Grammy, Emmy and many other awards for her songs and performances. Fierstein noted a change in focus between the film "about the saving of a factory" and the musical, which include "drag queens singing as they pass along the assembly line." He said the main difference is that the musical is, "at its core, about two young men who come from seemingly opposite worlds who figure out that they have a lot in common, beginning with the need to stand up to their dads." Lauper's inspirations ranged from listening as a child to her parents' recordings of South Pacific and West Side Story, as well as musical inspirations as diverse as Aaron Copland's "Appalachian Spring" and pop singer Lana Del Rey. In a broadcast interview with Patrick Healy of The New York Times, Lauper and Fierstein said that, in adapting the film, they stressed themes of community and the universality of the father-son bond as vehicles to explore the issues of tolerance and self-acceptance.
Kinky Boots was given a reading on October 6, 2011. Lauper was actively engaged in refining the material once the cast began readings. In January 2012, Roth announced that the show would be workshopped that month, and that Stark Sands and Billy Porter had been cast in the starring roles. In August 2012, the producers announced the Broadway opening date of April 4, 2013.
- Act I
Charlie Price grows up as the fourth-generation "son" in his family business, "Price and Son", a shoe factory in the English Midlands. Simon also grows up in the Midlands in a black family, but the lad's strict father is puzzled by the boy's interest in dancing and his mother's red high-heeled shoes. Charlie's father is aging and hopes that Charlie will take over the factory, but Charlie is eager to move to London with his status-conscious fiancée, Nicola ("The Most Beautiful Thing"). When his father dies suddenly, Charlie hurries home for the funeral, where he finds the factory near bankruptcy amidst hard economic times. The factory makes good quality men's shoes, but they are not stylish, and the market for them is drying up. Good-hearted Charlie cannot imagine how to save the business. He wants to close the factory, but he also wants to save the workers' jobs. The workers don't understand why Charlie had moved away in the first place, and some of them see Charlie as spoiled. Charlie visits his friend Harry to ask for help with the factory ("Take What You Got")
In London, Charlie is inadvertently involved in a street altercation, which leads him to meet a drag performer, Lola, and her backup troupe of drag dancers, the "angels" ("Land of Lola"). Charlie notices that the performers' high-heeled boots are not designed to hold a man's weight, but Lola explains that the expensive and unreliable footwear is an essential part of any drag act. In fact, Lola says, there are more drag queens than one would suspect, all yearning for sturdier high-heeled footwear ("Land of Lola" (reprise)). She suggests that other struggling shoe factories have survived by entering an "under served niche market". This gives Charlie an idea, and he invites Lola to come to the factory to show him exactly what kind of boots she craves ("Charlie's Soliloquy"/"Step One"). Lola and the angels arrive to help Charlie and his workers update their style sense ("The Sex is in the Heel"). Lauren, who works in the factory, has developed a crush on Charlie ("The History of Wrong Guys"). Charlie begs Lola to stay for "only three weeks", until the prestigious Milan footwear show, to design a new line of "kinky boots" that could save the factory. Lola reluctantly agrees. The next day, Lola shows up in man's clothes and is mocked by Don and his friends. Lola rushes to the bathroom, where Charlie meets her. Lola explains that her boxer father disowned her, and that her birth name is Simon. They form a friendship ("Not My Father's Son"). The first pair of "kinky boots" is made, and the workers celebrate ("Everybody Say Yeah").
- Act II
Many of the factory workers are not enthusiastic about the radical change in their product line. Some of them, especially the intimidating Don, make Lola feel very unwelcome. Lola presents Don with a unique wager to see who is the better "man": Lola will do any one thing that Don specifies if Don will do one thing that Lola specifies. Don's challenge is for Lola to fight him in a boxing match at the pub ("What a Woman Wants"). It turns out that Lola has had extensive boxing lessons as a youth, and even a short boxing career. Lola easily scores against Don in the ring but ultimately lets Don win the match ("In This Corner"). Afterwards, in private, Don reveals Lola's challenge to "accept someone for who they are" and asks why she let him win, and Lola replies that she could not be so cruel as to humiliate Don in front of his mates.
Some of the factory workers have been dragging their heels on executing the new designs, and Charlie is getting frantic that he will not be ready for the Milan show. Lola has been making some decisions about production and preparations without consulting Charlie, and, in frustration, Charlie insults Lola and the factory workers. Lola storms off, saying "we're done!", and the factory workers go home. To make matters worse, Nicola finally leaves Charlie, who is despondent; it looks like he will have to sell the factory after all ("Charlie's Soliliquy" (reprise)). Lauren finds Charlie and tells him to come back to the factory. It seems that Don has persuaded all the workers to return to work and to up their game. Charlie is astonished and grateful. He asks if Don has paid up on his wager with Lola by accepting Lola. Lauren explains that, no, the person that Don has accepted ... is Charlie!
It is a sprint to get ready for Milan. Charlie feels terrible about the things he said to Lola at the factory ("Soul of a Man"). Many of the decisions that Lola had made were just right, and Charlie realizes that he was foolish. He knows that it will be more difficult to sell the boots to the buyers in Milan without Lola and her angels. Meanwhile, Lola finds her father, who had never accepted her, dying in a nursing home, and reaches some sense of closure ("Hold Me in Your Heart"). Charlie and Lauren leave for Milan. Just as the footwear show starts, Lola arrives to save the day, and the whole company celebrates the success of the "kinky boots" product line. Lauren and Charlie share their first kiss ("Raise You Up/Just Be").
In Lauper's first effort at writing for the stage, she found that it required a sustained effort to write songs for the different characters. Lauper joked about the difficulty of writing her first score: "How much of a stretch is it for me to write songs about fashion, funny relationships, people changing their minds and shoes?" The first song that Lauper wrote was the opening number, which included a wide range of voices. Her process was to conceive a song and sing it into her iPhone, and orchestrator Stephen Oremus would write it down. Oremus would then "'blow up' the vocal line into harmonies, create the incidental music that linked scenes and songs" and orchestrate the material. The songs range in style "from pop to funk to new wave to tango, with highly personal lyrics". New York Times critic Melena Ryzik wrote: "Though there are plenty of hooky, rousing numbers, the emotional heart of Kinky Boots is several ballads about the weight of parental expectations." The musical uses a twelve-piece orchestra consisting of keyboards, percussion, bass, guitars, reeds, violin, viola, cello, trumpet, and trombone.
The musical numbers from the 2013 Broadway production are as follows:
- ‡Song not included on original Broadway cast album.
The musical numbers from the 2012 Chicago production are as follows:
Principal roles and original casts
- Andy Kelso replaced Stark Sands as Charlie Price on January 27, 2014.
- Jeanna de Waal replaced Annaleigh Ashford as Lauren on March 4, 2014.
- Cortney Wolfson replaced Lena Hall as Nicola on March 4, 2014.
- Haven Burton is scheduled temporarily to replace Jeanna de Waal as Lauren from June 24 to September 30, 2014.
Chicago and Broadway
On February 6, the Chicago Tribune reported that Kinky Boots' producers were considering taking advantage of an incentive program from the State of Illinois for out-of-town tryouts for Broadway shows. The October 2012 pre-Broadway Chicago tryout was announced on February 22, 2012. On June 28, 2012 the full Chicago cast was announced. The production was rehearsed at the New 42nd Street Studios in New York City in September 2012. The show began its pre-Broadway run at the Bank of America Theatre in Chicago, on October 2, 2012, which continued until November 4, 2012. The show was directed and choreographed by Mitchell; scenic design was by David Rockwell, costumes by Gregg Barnes, lighting by Kenneth Posner and sound by John Shivers. The music director and orchestrator was Stephen Oremus. The director and design team had gained previous critical acclaim and theatre or music awards. Mitchell had won a Tony Award for choreographing the 2005 revival of La Cage aux Folles; Barnes and Posner had won Tonys; and Rockwell had been nominated for Tonys and other theatre awards.
Mitchell and Rockwell had previously collaborated on Hairspray, Catch Me If You Can and Legally Blonde. Mitchell told The New York Times that the "Everybody Say Yeah" scene, in which the cast celebrates the creation of the first pair of Kinky Boots with a choreographed celebration on conveyor belts, required repeated innovations and adjustments like the eventual addition of safety rails and actor controls for the apparatus. Designer Derek McLane commented that it is not uncommon for repeat choreographer/set designer collaborations to result in intriguing innovation like the conveyor belt dance scene in Kinky Boots. McLane was impressed with the "mounted a series of conveyor belts that came apart, moved around, and fit the context of the story." in order to accentuate the choreography of "a troupe of men in four-inch heels". With respect to the conveyor belts, he said, "They've never been used as dynamically as this, creating a series of surprises, with the kind of wild athleticism that actually looks dangerous. It's one of the more thrilling combinations of stage design and choreography that I can recall."
After the tryout, the team went back to work, adding a new musical number for Charlie and a second song in the drag club, removing another song, and revising the book. The Broadway debut started previews on March 3, 2013 at the Al Hirschfeld Theatre, with the official opening on April 4, 2013. Both the Chicago and original Broadway casts starred Billy Porter as Lola, Stark Sands as Charlie and Annaleigh Ashford as Lauren. Porter, in particular, was singled out for critical praise.
The New York Times noted that in the 2012–13 season, most of the new Broadway musicals were "inspired by movies or books". The paper found the show timely for its treatment of problems that paralleled those at the time of its production, including "chronic unemployment, financial distress and the collapse of manufacturing". Prior to the June 9, 2013 Tony Awards, Kinky Boots had trailed its box office competitor, Matilda the Musical, in advance sales. However, less than a month after opening, Kinky Boots surpassed this rival in weekly box office gross. Kinky Boots won a season-high six Tony Awards, including Best Musical. The next day, the show sold $1.25 million tickets, and its advance ticket sales for future dates became a hot commodity. In the weeks following its Tony wins, the show became so popular that in the beginning of July a special ticket lottery system was created to keep fans from camping outside the theatre. Kinky Boots set a new box-office record at the Al Hirschfeld Theatre, and "recouped its $13.5 million capitalization in a relatively quick 30 weeks of performances", which was "faster than any big budget musical in recent history." In October 2013, Kinky Boots had the second highest premium-price tickets on Broadway behind only The Book of Mormon. As of 29 June 2014[update], the show had grossed just over $99 million.
On November 28, members of the cast performed the finale of the show in the nationally televised Macy's Thanksgiving Day Parade. Many viewers commented that, in their opinion, the performance was inappropriate for a family program. Fierstein responded that the show's inclusion in the parade reflected decreasing prejudice and increased tolerance for LGBT people in society.
Upon its October 2012 Chicago opening, Chicago Tribune critic Chris Jones described the show as a "warm, likable, brassy, sentimental, big-hearted and modestly scaled" production. Another reviewer praised the score, book, direction and, particularly, Porter, before suggesting that, before opening on Broadway, it could use a more effective opening number, better pacing in Act 2 and "the budding romance between Charlie and coworker Lauren ... needs more lead-in. In other words, give Ashford, a clear crowd favorite, more to do".
The musical's Broadway debut received mixed reviews, with Los Angeles Times theater critic Charles McNulty criticising Lauper's "novice mistakes" with a score that "never establishes a compositional through line" and saying that while "Fierstein's heart is in the right place ... the show's earnestness sinks it", adding that "if [the show] weren't such a cheesy commercial mess, it might actually be fun". Joe Dziemianowicz of the New York Daily News wrote that while the "script has issues like a pair of shoes" that don't quite fit, "Mitchell's production moves lickety-split" and "Porter ... is a force of nature as Lola." But, he added, Lauper's "multicolored, surprising and fun" score outshines the fancy footwear and proves to be the "real star of this show". Writing for The Guardian, David Cote noted that the decision to use American actors for an adaptation that maintained the Northampton setting resulted in a disconcerting inconsistency in terms of accents. The Wall Street Journal gave the show a negative review, calling it "an imitation heart-warming British working-class musical with a gay angle and a maudlin ending. ... Kinky Boots is its own spoiler alert, the kind of musical in which you recite the dialogue a half-beat ahead of the actors. ... [the score] sounds like ... "Cyndi: The Deservedly Forgotten Late-'80s B-Sides." A review in The Bergen Record said that the show "sorely lacks is a dramatic commitment to what it's doing. Which is why a show that seems to make few false steps is so relentlessly tedious," calling it "dull" and "synthetic". Talkin' Broadway also gave the show a negative review. The Village Voice, AM New York, and NBC turned in lukewarm reviews.
Ben Brantley of The New York Times gave a warm review, calling it "inspired" and comparing the work to other successful recent Broadway musicals: "Like The Full Monty (choreographed by Mr. Mitchell) and Billy Elliot the Musical, it is set in a hard-times British factory town, where jobs are in jeopardy and spirits need lifting. Like La Cage aux Folles and Priscilla Queen of the Desert, it presents drag queens as the show’s official spirit lifters. And like Hairspray, the musical this production most resembles in tone, Kinky Boots is about finding your passion, overcoming prejudice and transcending stereotypes." Brantley wrote that Lauper's "love- and heat-seeking score" wowed with her "trademark ... mix of sentimentality and eccentricity", and that the costumes and boots courtesy of Gregg Barnes made for "big red scene stealers". Brantley, however, did not extend his praise to Fierstein's script, writing that his "sticky, sermonizing side" comes through in the second half, where "all the clichés stand naked before you." The theatre critic for Time Out New York called the show "the very model of a modern major musical." The Associated Press termed it "a big ol’ sweet love story about sons, the families we make and red patent leather. ... Thank goodness for Harvey Fierstein – he spins theatrical magic", but noted that "the second half is almost completely unnecessary, the English accents are laughable and the footwear puns are relentless." Entertainment Weekly said "Cyndi Lauper's infectious score is cause for celebration." New York Magazine, The New York Post, The Washington Post and Variety all gave mostly favorable reviews. The show was awarded a "Critic's Pick" designation by The New York Times, Time Out New York and New York Magazine, and was included in Entertainment Weekly magazine's "Must See" list.
Awards and nominations
Matilda had been the pre-Award season favorite, but as the season progressed, it became clear that Kinky Boots and the revival of Pippin would provide serious competition. Early in the 2013 awards season, Kinky Boots did well, receiving Drama League Award nominations for Distinguished Production of a Musical and Distinguished Performance, for both Porter and Sands, and winning for Distinguished Production. The show received nine Outer Critics Circle Award nominations, winning three, including Outstanding New Broadway Musical, Outstanding New Score and Outstanding Actor in a Musical (Porter). The musical received only two Drama Desk Award nominations, however, and only one win: Porter for Outstanding Actor in a Musical. New York Times theatre writer Patrick Healy, however, reported that some Tony voters found Matilda "dark" and "a bit chilly", and accurately predicted that "while the cleverness of Matilda may be enough to win best book, the warmth of Kinky Boots will be enough to score an upset and take the top Tony for best musical."
Kinky Boots received a season-high 13 Tony Award nominations. Matilda, which The New York Times described as the "unalloyed critical hit" of the season, received 12 nominations, 11 of them in the same categories as Kinky Boots. In addition to its critical success, Matilda had won the Drama Desk Award for outstanding musical and had set a record by winning the most Olivier Awards in history. Nevertheless, Kinky Boots won a season-high six Tonys, including Best Musical, which the press described as an upset, and Lauper's win for Best Score made her the first woman to win alone in that category. The creative team are Americans, and reviewer David Cote, an American writing in The Guardian, judged that the show's win was a case of "the balance of love going to a homegrown American musical, Kinky Boots, over the British import Matilda." The other Tony wins were for best actor (Porter), sound design (Shivers), choreography (Mitchell) and orchestrations (Oremus). Fierstein, Sands, Ashford, Mitchell (as director) and the three other designers were all nominated but did not win. Kinky Boots also won the 2013 Artios Award for Outstanding Achievement in Casting in the Broadway musical category.
A Broadway original cast album, produced by Lauper, Oremus and William Wittman was released on May 28, 2013. It premiered at number one on the Billboard Cast Albums Chart and number fifty-one on the Billboard 200 chart, making it the highest charting Broadway cast recording since The Book of Mormon's album was released two years earlier. Before the Chicago tryout, "Sex Is in the Heel" became the first Broadway song to reach the top 10 of the Billboard club charts in 25 years. "Land of Lola" was released as a dance remix by Wayne G. & LFB in June 2013. The album received a favorable review in Playbill from Steven Suskin and won the Grammy Award for Best Musical Theater Album.
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- Official website
- Kinky Boots at IBDb
- Kinky Boots at Playbill Vault
- Kinky Boots at Theater Mania
- Kinky Boots at Tony Awards.com
|Character||Original Broadway Cast||Original US Tour Cast|
|Charlie Price||Stark Sands||Steven Booth|
|Lola/Simon||Billy Porter||Kyle Taylor Parker|
|Lauren||Annaleigh Ashford||Lindsay Nicole Chambers|
|Nicola||Lena Hall||Grace Stockdale|
|Mr. Price||Stephen Berger||David McDonald|
|Simon Sr.||Eugene Barry-Hill||Horace V. Rogers|
|Don||Daniel Sherman||Joe Coots|
|George||Marcus Neville||Craig Waletzko|
|Pat||Tory Ross||Bonnie Milligan|
|Harry||Andy Kelso||Mike Longo|
|Trish||Jennifer Perry||Anne Tolpegin|
|Richard Bailey||John Jeffrey Martin||Ross Lekites|
|Milan Stage Manager||Adinah Alexander||Patty Lohr|
|Young Charlie||Sebastian Hedges Thomas|
|Young Simon||Marquise Neal|