“Kinky Boots” may not be about knocking boots, but it will definitely blow viewers’ socks off. Based on the true story of Steve Pateman, The Berkeley Playhouse’s production of “Kinky Boots” centers on struggling shoe manufacturer Charlie Price. The play demonstrates the glittering joy of overcoming differences, bringing laughter, glamor and of course stunning boots to the table until Oct. 15.
With the unlikely pairing of Charlie Price (Seth Hanson) — the son left to take over his father’s shoe business — and Lola (B Noel Thomas) — a stunning drag queen — “Kinky Boots” depicts the heartwarming story of how two individuals learn to find common ground. In doing so, they work together to save Price & Sons Shoe Factory by catering to the unmet needs of the shoe sector.
Without a doubt, Thomas’ standout performance steals the show. Embodying a stage presence akin to Beyoncé on her Renaissance Tour, Thomas’ acting and singing is entrancing. Thomas exudes confidence with her puffed-up chest, sparkling costumes and a powerful alto voice to match. And yet, she can skillfully shift gears to showcase vulnerability and emotional depth as she shares her tragic backstory and bonds with Charlie during the number “I’m Not My Father’s Son.”
Hanson’s performance, however, leaves something to be desired. Although his melodic voice succeeds in carrying the musical to completion, his acting and emotionality detract from the show. It appears as if there is a delay between Hanson’s vocals and facial expressions, leading to a disconnect that takes audiences out of the spell of “Kinky Boots.” For instance, while singing “Step One” — a song reflective of Charlie’s excitement at taking the first step to save his father’s factory — Hanson takes until the second chorus to add a glimmer into his eyes and a grin on his face, displaying the emotion he sings about.
Though the message of coming together in spite of different backgrounds may feel trite, the Playhouse’s production of “Kinky Boots” excels at breathing fresh life into it. With Lola and Charlie mirroring each other as they grow up and overcome their issues, “Kinky Boots” etches an intricate mosaic of the characters’ complex relationships with their fathers.
The supporting cast upholds a strong commitment to the integrity of the production, making the show’s environment feel lived-in and tangible. No stone goes unturned when it comes to the minute details within their performances. For instance, in a scene focused on a conversation between Price and his friend Harry (Jaron Liclican), the other cast members set the scene’s ambience, having pretend conversations over a couple of pints of beer. These acting choices aid the narrative’s believability, engendering the audience’s enthrallment.
However, the production’s choreography falls short. In particular, the scenes in which the Angels perform include steps that feel forced, half-hearted and unsynchronised. Though these are key moments for the audience to be overtaken by the Angels’ presence, the sloppy, simple steps make their portrayals feel underwhelming.
The use of the stage and props indicates ingenuity in theater design by maximizing on space with the incorporation of varying levels. Such distinctions in height add a sense of reality to the separation between the factory ground floor and the manager’s office. For example, the show utilizes height distinctions to juxtapose Lola’s performance with Charlie’s firing of his workers, allowing for moments in different locations to play out at the same time.
Despite the production’s hiccups, with light lewd humor and clever double entendres, Berkeley Playhouse’s production of “Kinky Boots” is a delight and should not be missed.
