Kinky Boots

There are two reasons for theatre lovers all over Victoria to rush to Ballarat if they can.

One is the beautiful historic Her Majesty's Theatre, loving restored to its former elegance and class with great empathy.

The second is perhaps the finest production you will ever see of Harvey Feinstein and Cindi Lauper's joyful musical Kinky Boots.

Based on the British movie, the story tells of Young Charlie Price's move to save his father's ailing shoe factory by making stiletto heeled boots for drag queens.

It's an offbeat premise full of warmth and humour and strong philosophy on how to live your life, a genuine 'feel good' musical.

But what makes the audience (including this reviewer) feel even better is the extraordinary quality of this production from Ballarat's Lyric Theatre company. I have seen three other productions of the show...all mainstage, and this production tops all of them. Like the boots themselves, it's simply FABULOUS.

Stephen Armati's direction is impeccable throughout. He avoids the "camp it up" trap that others have fallen into and approaches story and character with integrity. Every piece of blocking has depth and meaning ...the breathtaking way he makes Charlie come down the stairs (off his high horse) to remind him of the level of the workers may not be obvious to most of the audience but it shows his commitment to character, and his placement of Charlie and Simon for the show's most poignant number "I'm not my Father's Son" echoes his skill and depth as a Director. And then there are little things...like the transition between the boy Charlie and the Man Charlie, or the change of pictures in the hierarchy on the back wall. Small but caring moments that show this is a director any performer would want to work with.

Sarah Hiller's choreography is mostly simple, clean and effective, catering to the cast’s various skills, and it is executed brilliantly by all. Gareth Grainger's choral work is an enormous contribution, with five additional singers in the pit with Jane Nice, who brilliantly leads a ten piece orchestra.

Matthew and Laurence Heenan provide a lighting design which would earn props anywhere in the world, and Aaron Rivett does wonders with the sound clarity and balance. 

And so to the cast, and what a cast it is. Space prevents me from naming everyone but there isn't a weak link in the entire cast.

The Angels, resplendent in extravagant drag created by Warren Bodycomb, whose work I have encountered in the past (a fine female impersonator rather than a drag queen) are all beautiful, with legs to die for, and there are great vocal and dance skills, ranging from the expertise of Aaron Bonell-Huy to the lovely naivete of Jesse Schneider, making his adult debut.

There are strong and totally credible performances from Matt Mercer, whose stage presence makes a meal of curmudgeonly Don; Marcus Harvey who adds truth and pathos to George; and Meika Collard (beautifully brittle as Nicola). The adorable Elizabeth Hardiman gives a lovely rounded performance as Pat and Rachel Angee is a delight as Trish.

Two juvenile performers - Liam Murphy as Young Charlie and Ned Woodrow as young Lola, impress with their confidence and stage presence. The future is bright for both of them.

Caitlin Garner is a delight throughout as Lauren, obsessed with Charlie. She's a funny, warm and confident stage performer with a real feel for comedy.

And so to Charlie and Lola (Simon).

The casting is superb, but not cliched. The combination of a two metre plus drag queen on stage with a diminutive dynamo creates a visual dynamic from their first scene. But don't be fooled. These two actors are equals throughout, perhaps creating the most credible and balanced combination I have ever seen in the roles.

Liam Kelly is a powerhouse of a performer and his energy is electric. He can command the stage but knows when to pull back and never once upstages (which he could easily do). His Charlie is beautifully realised, so that we love him, then dislike his arrogance, then love him again when he completes his journey. It's an inspiring performance...and just how the journey should be. 

But it's Lola's show, as it should be, and it would be hard to find a better Lola than Matthew Bandy. Interestingly Matthew seems almost too butch for Lola in their opening scenes ... with a strong masculine presence and deep resonant voice, and never camps it up (except when Lola deliberately does so).

I've seen Lolas who are fragile apologetic misfits, but Bandy's interpretation, clearly backed by the director, seems far closer to what Feinstein intended...an unapologetic gay man who has found a world they can live in...and 'screw you' if you don't get it. It's a wonderfully measured performance enhanced by the actor's imposing physical presence. It also allows Matthew...in the vulnerable moments... to touch us at a much deeper level when he breaks. I adored Lola...but I loved Simon even more...he was so unashamedly human.

With two such great actors in the one production it's going to be an interesting night at the awards this year.

Generally I make comment about the volunteers and commitment of community theatre. All of that is still true but it would be an insult to this company to categorise them. Professional or Community, this is just MARVELLOUS theatre, perhaps the best you will see this year. I'm grateful they invited me to review. It's a must see.

Coral Drouyn

Photo credit: Love Drum Creative