Opera House Players, Enfield, CT
May 3, 2024 - May 19, 2024
by Shera Cohen
“Kinky Boots” echoes many musicals of through the decades; the lite ones with no hidden layers to tax the brains of audience members. Sometimes, a little bit of that is needed. “Boots” is contemporary fun.
The plot is essentially a version of the tried ‘n true: let’s put a play on in the barn, where the town rallies to mount a musical despite all sorts of problems. Instead, picture a rundown shoe factory, backlogs of footwear, the recently deceased owner, and the son who must reluctantly come to the rescue. The “barn story” always ends as a rollicking success. It’s not a spoiler to say that the “shoe story’s” ending is the same, with its criteria of success being the creation of bright, red, shinny, high-heeled boots; aka Kinky Boots.
Kudos to the actors wearing these boots; a tough bit of choreography. No one fell, except for the one actor who is supposed to hit the floor.
Cyndi Lauper, known for her many years on billboard charts, is the talent behind “Kinky Boots,” having written the music and lyrics. The musical won Tony Awards and has been kicking up its heels ever since.
The cast or 25 and band of 5 keep the music front and center with the script in the background. While “Boots” is not an opera-like musical as are many today, it is not ladened down with dialog either. This factor offers those in key roles at least one solo, and sometimes part of a duet.
surprise with Producer Moonyean Field and Director Sharon FitzHenry at the helm. These community theatre veterans know their crafts and the skills of talent onstage and backstage.
There is the problem of the too many set changes. Community theatre productions should not stray from the story, nor the staging indicated by the playwright. Yet, there could be some ways to tighten up the lags. That’s just a suggestion for next weekend’s shows.
Lead Michael King (the erstwhile factory owner) is “everyman”. Sometimes, it’s more difficult to portray “a regular guy” than the star. The audience has fewer expectations. However, King shines as a singer. It is through the lyrics that he shows his acting prowess.
Cecil Carter (drag queen Lola) puts his label on the show that goes beyond the play’s text. Cecil struts his stuff and sings dramatic pieces with power and angst.
“Boots” presents a balance of three big, choreographed numbers at the start, end of Act I, and the musical’s end. The motley group of shoemaker actors are joyous on stage. Between Eddie Zitka (dance) and community theatre stalwart Bill Martin, “Boots” keep moving from start to finish.
