Everybody Say Yeah! Kinky Boots is joyously revived by James Terry Collective in a super slick production that is slightly smaller in scale but sky high in talent.

This new life as an independent production has a parallel to New York. Having won six 2013 Tony Awards including Best Musical, Kinky Boots closed on Broadway after six years and then recently reopened off-Broadway. 

Having eclipsed the source material, which was a little-seen 2005 British film, juggernaut stage musical Kinky Boots boasts music and lyrics by pop icon Cyndi Lauper and book by prolific Broadway scribe Harvey Fierstein. Fierstein’s book is judiciously lighter on his usual zingy one-liners and endearingly big on pride and heart. Lauper’s peppy score may have an over reliance on repetitive lyrics but is brimming with infectious tunes propelled by an authentic disco pulse and authentic Broadway ballads.

The raw humanity of Kinky Boots benefits from the relatively intimate setting of Chapel off Chapel, facilitating a strong connection to be forged between audience and characters. The detailed two-level set, sourced from CLOC Musical Theatre, looks spectacular in the space, especially when illuminated so beautifully by lighting designer Jason Bovaird. Likewise, the costumes (and boots!) from CLOC Musical Theatre and Notable Theatre Company look fabulous. 

Director Martin Croft brings the quirky characters to vibrant life, the details of their working class world more than holding up to the close scrutiny allowed by the close proximity of the stage and audience. Excision of the two child actors who would usually have played young Charlie and young Lola/Simon is no loss, the father and son theme coming through as strongly as ever. Croft does not shy from the brutal impact of judgemental hate speech, making the ultimate enlightenment of the small-minded characters all the more rewarding. 

Not daunted by the tight floor space, co-choreographers Luca Dinardo and Jordan Charles Herbert deliver sharp dance routines performed with crisp precision. Lola’s Angels may be reduced from six to four but those four easily do the work of six. “Sex Is in the Heel” and act one finale “Everybody Say Yeah” are genuine showstoppers, and the full company finale and curtain call really bring down the house. 

The stellar work of musical director Nathan Firmin is a key attraction of this season. The generously-sized 11-piece band absolutely rocks Lauper’s score and the vocal performances are uniformly excellent. Ensemble harmonies are particularly tight. This peak musical work can all be comfortably enjoyed thanks to the reliably detailed sound design of Marcello Lo Ricco. 

Charismatic lead performer Christian Charisiou is in top form as Charlie Price, singing the role superbly and finding the perfect balance of bravado and vulnerability in the young man struggling to assert his identity in both his newly-inherited business and his strained relationship with his vain fiancée. 

Most impressively, Charisiou solves the problem of the musical’s weak point, which is the sudden descent into anger for Charlie halfway through act two. Rather than simply let fly with fury, Charisiou plays this scene with tightly controlled rage that develops gradually and believably, keeping the audience firmly on his side as he subsequently soars through “Soul of A Man.”

With little musical theatre experience, Carl de Villa makes a wonderful Lola, singing the hefty role with vivacious flair and dancing up a storm with Lola’s Angels (Carter Rickard, Lachlan Erard, Cody Green, Jayden Prelc). Supremely glamorous as Lola, de Villa is not afraid to appear awkward and uncomfortable when Lola dons the garb of a traditional “man” to blend in at the factory. De Villa faces the bigotry that is thrown at Lola with grace and steely nerve, making the scene of Lola’s breakdown all the more heartrending. 

Looking a bit too young for Charisiou’s Charlie, Jessica Faulkner is nonetheless a delight as eccentric factory worker Lauren. Faulkner really lets loose to terrific effect as Lauren unveils her litany of past relationships in “The History of Wrong Guys.”

Kelsey Halge gamely brings the necessary unlikeable brittleness and superficiality to Nicola, self-centred partner of Charlie. Likewise, Joseph Lizacic does not hold back from the broadly phobic and bigoted views of Don, eventually earning the character a worthy redemption.

In an early cameo, Callum O’Malley makes a memorable impression as Charlie’s footwear industry friend, rocking the house as Harry and his band perform “Take What You Got.”

The Price & Son factory is filled with distinctive characters all brought warmly to life. Drew Holmes amuses as fastidious foreman George. Sally Bourne brings a cheeky glint to straight shooter Trish. Keegan Vaskess plays Pat with palpable heart.

Special mention to ensemble members Samuel Allsop and Nicolas van Litsenborgh who portray a fully fledged romance for their two factory worker characters without so much as a single word of dialogue.

It may not have any particular connection with the holiday season, but the festive fun of Kinky Boots will put all but the hardest of hearts in the mood for good will to all mankind.

Kinky Boots plays at Chapel off Chapel, Melbourne until 17 December 2023. For tickets, click here.

Photos: James Terry