COLUMN: ‘Kinky Boots’ dazzles IU Auditorium in enjoyable but heartfelt efficiency

The nationwide tour of the 2013 Tony award-winning musical “Kinky Boots” returned to IU on Feb. 10 and 11, bringing dazzle and coronary heart to the auditorium stage. 

The musical follows Charlie Price (Noah Silverman), who inherits a failing shoe manufacturing facility from his late father. Determined to discover a solution to reinvent the model to deliver it new life, he groups up with Lola (Omari Collins), a drag queen in want of sturdy high-heeled boots. Together, they design a line of fashionable high-heeled boots made for males in a last-ditch effort to save lots of the shoe manufacturing facility, and alongside the best way, uncover the ability of opening one’s thoughts. 

I had by no means seen “Kinky Boots” earlier than, however was drawn to it after listening to a synopsis of the plot. Especially contemplating it’s impressed by a true story, this appeared like it could be a enjoyable, distinctive and heartfelt musical, and it delivered on all fronts. 

The musical opened in a approach I’ve personally by no means seen achieved earlier than; with a personality dashing on stage, supposedly on a cellphone name, to speak to the viewers to show off their cell telephones and put them on silent. It was a fairly jarring solution to open the present, but it surely instantly grabbed my consideration and was positively probably the most fascinating pre-show PSA I’ve seen. 

The story then began with the introduction of Mr. Price, Charlie’s father, who’s performed by Dominic Pagliaro, an IU alumnus. I used to be fairly shocked to find the present is definitely set in England, and each character has a British accent. It was a bit off placing at first, however the characters’ British appeal quickly grew on me, regardless of it making it a bit obscure a number of the dialogue. 

I believe the true coronary heart of this present was Lola, performed by Omari Collins, also referred to as Scarlett D. Von’Du in drag. She immediately commanded the stage when she made her entrance and continued to serve appears, comedy and far of the present’s emotional depth all through the remainder of the musical. 

It took me somewhat little bit of time to get into the musical, particularly due to the songs, which at first sounded fairly generic to me. The second the present actually hooked me was through the quantity “Sex Is in the Heel,” led by Lola.  

This scene was very enjoyable and vigorous and was the primary time the ensemble characters turned distinctive. While most of the facet characters don’t get an excessive amount of depth all through the musical, they’re all nonetheless very particular person because of their quips and one-liners that made up most of the most comedic moments within the musical. 

My favourite a part of the musical, nonetheless, was not one of many flashy dance numbers, however somewhat Lola’s ballad close to the tip, “Hold Me in Your Heart.” This music was dropped at life fantastically by Collins’ highly effective vocals, and whereas the scenic design throughout this quantity was somewhat easy, it was very efficient. Lola’s flowy white sequined costume made her look ethereal, and the again gentle that shone out into the viewers on the finish of the music actually made me really feel like I used to be being serenaded on the gates of heaven. 

However, my largest gripe with the musical was the third act battle. This is one thing that I believe a number of musicals, and tales basically, battle with as a result of it’s very arduous to do effectively. There’s all the time a giant dramatic second within the final half-hour of the story the place the whole lot goes incorrect and the principle character reaches their lowest level, however after this, the harm that was achieved must be utterly resolved and tied along with a pleasant little bow in a small period of time. 

Up till the third act battle of “Kinky Boots,” I used to be really very happy with the truth that Charlie didn’t come into the story being homophobic or impolite towards Lola, as this simply may have been the trope that was used for the whole thing of the musical. However, my admiration for his character swiftly dissipated when he turned the rudest, most homophobic character within the present for the sake of a 3rd act battle. 

While I believed his apology to Lola after this was effectively achieved, I discovered myself struggling to sympathize together with his character after this battle. It made me not need Lola to simply accept his apology or come to his rescue in any respect.  

I do know a giant battle and subsequent decision was crucial for the construction of the story, however I want Charlie hadn’t gone so far as he did, or on the very least, that there was extra time to have him study from his errors and show he might be a greater individual to Lola, as an alternative of a two minute apology over voicemail magically fixing the whole lot. 

Regardless of my emotions concerning the third act of the musical, this was nonetheless an exceptional efficiency. I laughed, I cried, I danced alongside and I discovered myself wanting a pair of thigh-high purple sparkly boots so I can try to be even a fraction as cool as Lola.