“Ladies, Gentlemen, and those who have yet to make up your minds ...
” Such is the emcee’s favored greeting at the London drag club temporarily transplanted to the Little Theatre of Virginia Beach through Aug. 11. It’s where the elite (and effete) meet and greet — not to proselytize audiences but to humanize us.
You may already recognize this as the high-stepping musical version of “Kinky Boots” (book by Harvey Fierstein; music and lyrics by Cyndi Lauper). Based on the 2005 film starring Chiwetel Ejiofor as drag queen Lola and chameleonic Joel Edgerton as the young factory owner Charlie Price, “Kinky Boots” tells the mostly true story of a Northampton, England shoe factory just a thinning sole’s breadth from closure. Charlie (played in VB by fresh-faced charmer Zack Kattwinkel) develops a purely economic fetish for kinky boots, hoping to market them to drag queens and other fearless fellows who can finally stand on stilettos reinforced with steel to bear their manly weight.
(See and hear songs such as “Sex is in the Heel.”) The British setting calls for accents (uh-oh), executed only sporadically by this cast. It’s a formulaic musical in composition and structure, including corny rhymes and forgettable tunes by Lauper, who nevertheless won a 2013 Tony for Best Original Score.
This LTVB production is additionally hampered by Kattwinkel’s tendency to stray off-key. But the trite tunes and off notes matter little when the lessons are taught so sweetly and joyfully. It’s a satisfied and well-instructed audience that gleefully exits the theater at evening’s end.
It helps that the last number is a showstopper set at a fashion shoe show in Milan overrun by a hoard of remarkably costumed drag queens. Costuming credits go to Pamela Jacobson-Bowhers, Connor Payne and production director Kobie Smith. How is this degree of final audience satisfaction possible? Step aboard the arc/ark of this life-affirming, irresistible plot steeped in the remarkable similarities between dedicated longtime factory coworkers and those dedicated volunteers who produce and act in community theaters wherever they may flourish.
The first act of soleful/soulful plotting genius was to delve briefly into the childhoods of our two protagonists: young Charlie, the ill-equipped shoe factory owner and drag queen Lola aka. Simon (here wonderfully played by lean and lanky Norfolk State University-trained Lance Hawkins). Note: Three other actors involved in the show hail from James Madison University.
Younger versions of our main male characters appear briefly onstage to establish that Charlie was blessed with a father (Brian Sheridan) who adored him. At the same time, Simon (soon to be Lola) had a father horrified by his son’s early proclivities towards gender-bending. (Young Simon likes to wear women’s shoes and dance around.
) Charlie’s father dies unexpectedly, leaving Charlie a factory sinking in debt. Lola’s father disowns him, but we’re later shown hope for a reconciliation. Charlie is also blessed with women in his life: first his rising realtor girlfriend Nicola (suitably high-toned Grace Altman) and then worker Lauren (winsome and loyal Olivia Florian).
Nicola proves more interested in place (London) than person (Charlie, constrained to be in Northampton). Lauren’s real talents eventually get her promoted to management. Other male factory figures prove crucial, especially peacemaking shop foreman George (Sandy Lawrence) and trouble-making Don (well acted by James Bryan).
Don movingly changes from homophobe to loyal Lola supporter, partly due to Lola’s boxing skills but more due to Don’s ability to develop humanistic ones). Hawkins’ Lola, surely the longest, lankiest Lola yet to tread the boards, is 6-foot-3 in his bare feet, but 6-foot-9 once he dons stilettos and wig. And boy, can Hawkins wear a glittery red costume! One of Lola’s “Angels” (here meaning backup dancers) also deserves special acclaim.
Besides playing a backup queen of the highest order, Payne contributes hair and makeup design serving, in his term, as “Dragaturg” [sic], an apt neologism based on the fancy theatrical title of dramaturg. A dramaturg is a sort of in-house literary expert for a theater. “Dragaturg” may well be Payne’s linguistic invention since Google doesn’t yet recognize it.
There are a lot of shoe/sole/soul-based remarks in the show, e.g., Charlie’s tender line to his newfound love Lauren: “I was a loose shoe but you need two to make a pair.
” But is it, again, the general sense of kindness promoted by the show that impresses? Towards the finale, the musical’s creators Fierstein and Lauper come up with something they liken (a bit unwisely) to a 12-step code of conduct. They claim to “do it in six,” but their numbering trails off towards the end. Though they’re common sense, their dicta bear repeating (from the sheet music score): “Pursue the truth, Learn something new, Accept yourself and you’ll accept others too—Let love shine, Let pride be your guide, You change the world when you change your mind.
Just be who you wanna be. Never let ’em tell you who you ought to be. Just be with dignity.
Celebrate your life triumphantly. You’ll see it’s beautiful.” The code’s not tight, but it’s surely right.
So, “Ladies, gentlemen, and those who have yet to make up your minds,” it turns out you can indefinitely postpone any such decision. Just be human. Page Laws is dean emerita of the Nusbaum Honors College at Norfolk State University.
[email protected].
___ When: 8 p.m. Fridays and Saturdays, 2:30 p.
m. Sundays through Aug. 11 Where: Little Theatre of Virginia Beach, 550 Barberton Drive Tickets: Start at $22 Details: 757-428-9233, ltvb.
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