Kinky Boots

I’m not sure, but I’d hazard a guess and say I’ve been a reviewer for Stage Whispers for at least 18 years - so forgive this self-indulgent preamble. Over that time, I’ve been (mostly) fortunate to see dozens of professional and non-professional productions from Sydney and the Central Coast. While preparing to move interstate to Tasmania, I made sure to tee up a review opportunity to see Spring Awakening (Black Box Theatre Co.) when I visited in July. That review caught the eye of a representative from Encore Theatre Company, who kindly invited me to this production - the same week I moved down. I was so keen to visit the almost-a-century-old-900-seat Princess Theatre and while I hadn't had a chance to research the Encore Theatre Company, I couldn’t believe my luck. 

Having seen the West End production in 2017, I loved this show! My socks went totally AWOL. Even after knowing the movie, I was not prepared for the theatrical kaleidoscope of sound and vision that ensued. The sheer logistics of the staging were formidable, including one particularly risky scene involving many moving parts. 

I was not prepared! 

Encore would have its work cut out, so I kept my expectations moderate. 

It has to be said, the lavish interior of the Princess is a delight to behold and, upon first glance at the professional-looking set, my expectations inched higher. Kinky Boots is meant to be an experience that grabs its audience by the throat, hijacking all its senses, not letting go till the very last note. 

I was still not prepared! 

Encore’s production triggered the strongest sense of DéjàVu. From the seamless scene changes, to the hypnotic lighting design, tight orchestra, the 1st class costume creations and super satisfying sound levels, this was easily right up there as dazzling a technological theatre-going experience as I have ever enjoyed - and still, with all that, the calibre of the performances managed to stand out across the board. 

In my last review, I singled out the vocal dexterity of Deklan Haas, but I was unprepared for how completely he threw himself into the awkward underdog role of Charlie Price. A genuine triple threat, Deklan's measured performance ends up as downright heroic, leaving everything on stage.  

A mandatory requirement, in order to match the sheer charisma of one Jarrod Pitman, in the star-making role of the larger-than-life, drag-artist - Lola. While this flamboyant role is the gift that keeps on giving - triggering laughter well as tears; an actor needs to inhabit this part in order to wrench it from becoming a cliché caricature. Pittman adds fire to Lola’s innate warmth, fathoms to her depth and deceptive athleticism throughout (on - it has to be said - one dynamite set of pins). And the chemistry of the two leads is the glittering, red icing on top. 

Choreographer Bianca King must jump sky-high for joy every moment Lola sashays and snaps her way through her Fosse-esque choreography, clearly inspiring ‘The Angels’ to ‘struttier’ heights. 

All the minor leads were uniformly fabulous. Paige Crooks as the shy, yet lusty Lauren is a genuine scene stealer, Billy Hawkins relishes his gravelly-voiced turn as the antagonistic Don, while Ashlee Prewer is gorgeously annoying as Charlies pouty fiancé. Rounding out the ensemble, Fred Rainbird, Alana Lane, Nelson Tabe and Conall Cassidy maintain engaging characters, throughout (with mostly consistent accents always a bonus in community theatre).

As for the rest of the ensemble - this company could match powerhouse vocals with any professional outfit. To achieve such fine results with a show involving so many challenging components, can only be the result of a dedicated and creatively talented production team. Kudos to Director Belinda J King for pulling this top notch team together and getting the absolute best from every department. These Kinky Boots deserve to walk their way into a sell-out weekend. 

The bar is set. I cannot wait for their March production of Billy Elliot. 

Rose Cooper

Photographer: Scott Gelston.