![]() There’s also a much, much funnier drag-based theatrical production currently playing a mile and a half away in the form of Seattle Rep’s The Vaudevillians. The Book of Mormon (2011 Tony winner) is obviously in another stratosphere of humor, but Kinky Boots isn't even nearly as funny as the Once (2012 Tony winner). It also suffers in the comparison game when stacked up against the previous Tony winners for Best Musical that have recently graced the Seattle stage. The script tries for plenty of fish out of water gags with the drag queens, but there are few laughs for a show striving for comedy. The show quite simply doesn’t pack much of a comedic punch. The major shortcoming of Kinky Boots arises from its humor. It’s oddly captivating waiting to see how the stage choreography will transform the world of Kinky Boots next. There are also simple touches, like how a moving screen seamlessly transitions the boy playing young Charlie to the adult version during the opening number. The highlight of the stage movement comes during the first act finale “Everybody Say Yeah,” where pieces of the factory rapidly shift to become platforms for acrobatic treadmill dancing that was clearly inspired by OK Go’s “Here It Goes Again” music video. The central stairway scaffold moves and gets spun around by the cast throughout the show becoming the office of Price and Sons, a bathroom, and a drag club entryway. The most impressive part of Kinky Boots is the stage choreography not the dance moves (which only impress when the drag queens are front and center), but the way the cast shifts aspects of the stage throughout the production. Lindsay Nicole Chamber delivers a needed dose of sweetness as Lauren, Charlie’s love interest and super supportive employee. As Lola’s counterbalance, Booth is able to capture Charlie’s simultaneous optimism and timidity. ![]() He excels both playing up the flamboyant side of Lola the performer (like her introduction, “Land of Lola”) and by bringing intelligence during the quieter moments that give the character a personable sense of grounding (as is the case with “Hold Me in Your Heart” near the show’s end). With a booming voice and magnetic stage presence, Parker carries the show with his portrayal of Lola, making her a brash typhoon of charisma that almost overpowers the rest of the cast entirely. They must confront their issues while attempting get the kinky boots ready for display at Milan Fashion Week. ![]() When he brings Lola on as a designer, there's a culture clash between the blue collar workers and the drag queen in their midst. Lola’s complaints about the cheap nature of the high heel boots the drag queens wear sparks Charlie to try and save the factory by switching production to make quality stiletto boots. When Charlie attempts to stand up for a lady being harassed on the street at night, his world collides with Lola (Kyle Taylor Parker), a boisterous drag queen. His problem is that no one wants the traditional old shoes Price and Sons makes anymore. Charlie has no intention of carrying on the family business, but when his father unexpectedly passes, he’s thrust into the position of trying to keep the struggling factory afloat. The plot centers on Charlie Price, the heir to the small town British shoe company Price and Sons.
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