Kinky Boots ~ Adelphi Theatre ~ 28.09.15

Having seen the show twice during previews, I knew what I was in for when I rocked up to the Adelphi for the third time.

On the surface, perhaps the show doesn’t appear to have all that much of interest to offer me, I certainly think there are shows with better storylines and there are shows with better soundtracks, but Kinky Boots is far greater than the sum of its parts with a fantastic ensemble cast, and a great pair of leads in Matt Henry and Killian Donnelly as Lola and Charlie.

It’s a little lightweight, but it doesn’t take itself too seriously, and ends with a highly positive (if perhaps a little cheesy) message of hope, empowerment and tolerance. It’s musical theatre, though, I think ‘a little bit cheesy’ is de rigueur – certainly with modern pieces.

Here’s the key element – the script is funny. The sassy character of Lola (Matt Henry) has some killer lines, in-keeping with the stereotypical view of drag queens perhaps, but additionally Amy Lennox is a great comic turn as Lauren – the girl-next-door who comes to see her hapless boss (Charlie) in a new light.

With his third lead role in as many years, Killian Donnelly has firmly established himself on the West End stage now, and it’s an accolade well-deserved. I don’t necessarily think this character is the most interesting one he’s played, however – and considering he left a fantastic part in Memphis for this role, it may seem a little more on the light side – but he sings it well and takes every opportunity to play up the comedy in his role as the double act straight man, a great contrast to what I have seen of him before where he has always been a cheeky instigator, rather than reactor.

An interesting element to the show, which gives it much more than the basic level “drag queen set in an industrial town and see how those worlds collide” overview, is the addition of Lola’s alter-ego Simon. Matt plays both sides to his character with such opposed styles yet the connection between the two remains believable. Lola’s brash, outlandish style against Simon’s crippling shyness and self-doubt, yet in numbers like “Hold Me In Your Heart”, you can see elements of both. Harvey Firstein’s work ought to be commended mainly for introducing this nuanced character to the scene. Perhaps most audiences will box Lola off as a gay man dressed as a woman, but actually that is never established and Fierstein himself has denied that Simon/Lola is gay. It’s interesting that people have fixated on that when the whole point of the musical is that it doesn’t matter, just be who you are. We still have some way to go, but Kinky Boots is doing its bit!

So, Kinky Boots, eh? Yes, it’s clunky at times whilst delivering its messages of positivity. Yes, some of the songs are unbearably cheesy – but Cyndi Lauper has dropped a few absolute gems in there too, which are ridiculously catchy and fun. Aside from the Lola-centric “Land of Lola” and “Sex Is In The Heel”, two brilliant numbers are “What a Woman Wants” – a modern tango argument between Lola and the women and factory bully Don – and “In This Corner”, a musical accompaniment to a fight between Lola/Simon and Don, which features some stunning vocals by Marcus Collins, with one of the costuming highlights – do look out for that. And Yes, I do feel the characters of Charlie and Nicole are a little on the flat side. But – this musical has the Angels in it. It’s a winner for me!


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Les Mis v Phantom Weekend

30th July – 2nd August ~ Queen’s Theatre, Her Majesty’s Theatre, Bromley FC

A weekend spent in the company of the West End’s finest French musicals – Les Misérables and Phantom of the Opera. This formed the basis of an action-packed weekend I planned to celebrate my Mother’s birthday, much of which was a surprise to her. I had offered to take her to a musical, and whilst she had spent so long deliberating between these two productions, I went and bought tickets to both without telling her. She eventually chose Les Mis, so the Phantom tickets went unmentioned until I was guiding her into the theatre. I should also mention at this point that we were scheduled to attend the annual charity football match ‘Les Mis vs Phantom’ on the Sunday – completing the trilogy.

Readers of any previous blogs of mine will know how I hold Les Mis in such high regard. So many casts over the years have made this such an enjoyable show for me and I have returned to the Queen’s Theatre several times. Phantom, however, I have only seen once – so was looking forward to revisiting this.

There’s not much new I can say about Les Mis at this stage – it’s been going 30 years (the anniversary is in October) and the production is as slick as ever. This visit gave me the chance to see the new cast in action, following quite a significant cast change in June. It’s always fun to see new people in the roles, regardless of how much you enjoyed previous cast members performances. Everyone brings something new to the role, interprets the character in a different way.

Rob Houchen and Carrie Hope Fletcher continue to deliver strong performances in the roles of Marius and Eponine. Confession: I am really not overly keen on the Marius/Cosette storyline – either in the book or the musical, but Rob is absolutely fantastic and makes the character interesting. Bradley Jaden has moved into the role of Enjolras and what a fabulous piece of casting that was – great vocal performance.

Of the new additions to the cast, Adam Bayjou was covering for the absent Peter Lockyer as Valjean, and he is one for the permanent role in the future, I am certain. Very steady and assured performance in a very demanding role. Jo Parsons deserves notable mention for his role as Grantaire (who remains my favourite character – he has some of the best ranting speeches in the book. And always has wine. Winner!). Christian Edwards is very much missed, he was superb as the cynic last year, introducing many little comic touches to scenes and being the very human response to the tragedies unfolding. Jo has already started introducing his own flourishes and I look forward to seeing him in the role again to see what else he will bring.

The following day saw us attend the matinee performance of Phantom of the Opera at Her Majesty’s Theatre. It’s been a few years since I saw this show and remember enjoying it but being so high up and far away from the action, feeling that I was missing out. This time, although we were sat in the upper circle, we were front row and had a brilliant view – especially when it came to the chandelier scene (I won’t elaborate for fear of spoilers, but it is a fairly famous moment, I’m probably safe!)

Quite simply, I forgot how stunning this production is. Even after taking into account all the elaborate costumes for all the opera scenes within the show, the actual tech is superb. The ‘Phantom of the Opera‘ scene with the candles and the boat remains one of my favourites, but all the trickery with the mirror and the disappearances throughout are just so well executed, it’s very easy to suspend disbelief and embrace the legend of the Phantom.

Unfortunately Gerónimo Rauch was not well enough to perform as the Phantom, which was a shame as I had hoped to see him – he had a fantastic run as Jean Valjean in Les Misérables prior to this role, and he’s a phenomenal talent. However, must acknowledge the flawless performance of the understudy Phantom, Kieran Brown – strong vocal performance and gave the Phantom just the right combination of man and monster, tragic victim and menace. The Phantom is such an interesting character, you can never quite commit to either hating him or pitying him as there is such a complexity behind his situation.

Opposite Kieran was alternate Christine, Emmi Christensson, who was delightful as the daydreaming damsel. I was fortunate enough to see her perform a duet with Harriet Jones, who alternates the role of Christine with Emmi, at Scott Alan’s concert in May. Both ladies were in fine voice and Emmi again delivered a pitch-perfect score. Joining Kieran and Emmi to complete the lead trio was understudy Raoul, Oliver Savile. It’s sort of a running joke among my close friends that there have been a number of times where I’ve attended a show or concert with an extra incentive to see a specific person and that person has not been available and Oliver Savile has popped up to save the day! It’s never any hardship, he’s a fine performer indeed, and it’s always a pleasure to hear him sing. But it does mean I have yet to see Liam Tamne perform live. But there is time for that. And Oliver did a fantastic job with Raoul – who is a character I don’t usually warm to, but very much enjoyed on the day.

So, with our scouting mission for both Les Misérables and Phantom of the Opera over, we made our way to Bromley FC to the football match the following day full of up-to-date squad info and full of certainty of who we would be supporting. By which I mean I had enjoyed both performances equally, and I knew Phantom had a really strong team the year before – but my heart, as always, lay with Les Misérables.

When Les Mis went 1-0 up I did feel it might be their day and their chance to win the trophy back from Phantom. At 6-1 down, deep into the second half, I felt it was time to perhaps acknowledge that I might have been mistaken. The late consolation goal kept the crowd happy, many of whom had been happily singing along to cheer their teams. For the Phantom team, captain Ryan Goscinski and Man Of The Match winner Tricky Shelmerdine were outstanding, and also special mention to Ryan O’Gorman for the Les Mis team – a recent transfer from Phantom FC but didn’t shy away from those tackles.

It’s a delightfully odd thing, a charity football match. Especially one involving musical theatre. As a football-goer myself, the crowd is always different at a charity match – understandably so. But at Les Mis v Phantom it’s a whole other level of enjoyment. Genuinely such a fun day – from the vast array of live performances pre-match, to the highly entertaining live commentary from Carl Mullaney, Tim Morgan, and usually Adam Linstead, however he couldn’t attend this year due to his Blackpool run of Cats alongside Jane MacDonald. He was sorely missed, but Carl and Tim ensured that no player went unmocked, no gag remained untold, Carl has even now learned to stop calling half-time “the interval” (although I’ll admit to constantly doing the opposite…)

Lots of appreciation for the pre-match entertainment, provided by Kerry Ellis, Rachelle Ann Go, Killian Donnelly, Carrie Hope Fletcher, John Owen Jones and Rob Houchen in lieu of the still-unwell Gerónimo Rauch. Half-time entertainment was brought to you by Take-4, including Les Mis alumni Dayle Hodge and Ethan Bradshaw, who performed a medley of Frankie Valli songs. See, you don’t get showtunes at Old Trafford, the Etihad or Anfield, eh? More’s the pity…

Bromley FC were, as always, fantastic hosts for the event, and thanks to their support and the efforts of everybody involved with Les Mis v Phantom, a fanastic sum of £18,000 was raised for the MAD Trust and MacMillan Appeal.


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