Kinky Boots

A fresh pair of boots, still fabulous, just missing a little sparkle.

Kinky Boots is a high-energy, feel-good show and, on the whole, this production is absolutely a crowd-pleaser. What I watched was a top night out: lively, entertaining, and met with huge audience enthusiasm. But for those of us who know and love this musical, it is also impossible to ignore just how different this version feels from previous productions. While I try not to lean too heavily on comparisons, this show is so far removed from the version many fans will know that it almost demands a more critical eye.

Directed by Nikolai Foster, this production does not claim to be a replica of previous versions, and that is absolutely fair. However, in doing so, it often feels like the direction is working against the book rather than reinterpreting it; removing detail and iconic moments without replacing them with anything new or equally effective.

Johannes Radebe leads the production as Lola, and as you might expect from a Strictly professional, he performs with extraordinary poise and grace. Every move is delivered with precision, and there is a natural elegance to everything he does on stage. He also has a lovely soft singing voice, which sounds gorgeous in the score. Matt Cardle, as Charlie Price, is another piece of celebrity casting likely to draw audiences in, he proves he has the voice needed for the role. Vocally, he delivers exactly what the part asks of him. Courtney Bowman as Lauren also brings strong presence, helping to keep the show buoyant and bright.

From the moment we entered the auditorium, it was clear this production wanted to make a statement. A large illuminated Kinky Boots banner hangs for audiences to take their programme photos with before the show, and it certainly looks impressive. In previous productions, the detailed Price and Son sign helped establish the world immediately, whereas here the emphasis feels more advertising-led and less rooted in realism. This also takes away from a lovely moment after the interval. That approach continues throughout the evening. The set itself is very effective: a realistic old factory interior fills the vast Coliseum stage, complete with workstations and a lovely view through the window. Although that London skyline initially feels odd for a story set in Northampton, it soon becomes clear that the same scenery is doing a lot of heavy lifting, representing multiple locations from Charlie’s flat to the club. They did struggle with a long scene change for the runway show.

The biggest changes come in the storytelling. Charlie’s father is presented as much more overbearing, openly pushing young Charlie to sing the Price and Son song, whereas previously that pressure felt subtler, more inherited than imposed. Young Lola’s introduction is also notably altered: here, he enters wearing a dress and shoes, immediately signalling a different directorial choice. In earlier productions, the emotional power came from seeing young Lola dressed as a boy, quietly discovering the shoes and the joy of dancing in them. Because the script focuses only on the shoes, not the dress, this new interpretation creates confusion later on, particularly when paired with the boxing flashback.

That sense of mismatch between direction and script appears more than once. The Angels have been completely reimagined. Gone are the glamorous, expensive-looking costumes, towering wigs and ballroom-inspired polish. Instead, this production presents them in a more alternative, postmodern, comedy-drag style with intentionally DIY-looking costumes. It is not my preferred interpretation, but it undeniably got a response, with audience snaps throughout. The problem is that some of the dialogue no longer lands properly with this new visual language. Lines such as the Churchill joke feel particularly misplaced here, especially when delivered alongside staging that seems to contradict the intention of the joke rather than support it. Moments like this suggest a lack of alignment between direction and text.

Lola’s entrance, usually one of the most iconic in musical theatre, was one of the moments that did not work for me. Radebe is substantially taller than much of the cast, and the staging had him squatting with bent knees for part of the reveal. I found it so distracting that it pulled focus from what should be a knockout entrance. More broadly, Lola’s costumes do not always distinguish the character enough from the Angels. At times, particularly in group numbers, it becomes harder than it should be to immediately locate the central figure.

Comedically, the production is a mixed bag. Some of the original scripted beats are missed, and several punchlines lose their impact because of altered staging or timing. However, Scott Paige as George is a genuine triumph. This version of George is much bigger, campier and more overtly comic, and Paige is clearly having a brilliant time on stage. He throws himself into every moment and brings a real spark to the production. There is real joy in his performance as this character takes over the referee role too.

Where I struggled more was with Don (Billy Roberts). The lyric changes and casting choices significantly alter the meaning of the character. In this production, you would be hard pressed to pick Charlie out from Harry, Don and several members of the ensemble – white, well-built, with stubble – and this lack of distinction undermines Don’s character arc, which relies heavily on contrast. Don’s journey is, in many ways, one of the most important arcs in the show, and here that development feels weakened.

Some of the most iconic staging moments have also been stripped back. The design montage loses detail, Lola does not design the shoes within that sequence, and major visual flourishes from previous productions are gone. The removal of the travelators is especially noticeable, with the famous sequence now replaced by a dance-off circle that lacks the same impact. During this moment, Charlie is left dancing awkwardly at the back, looking noticeably out of place, which only highlights the loss of the original staging’s slickness. The boxing scene, too, feels less imaginative, with performers simply holding the ropes rather than using the inventive physicality that once made it so visually memorable. Notably, the much-loved moment of Lauren singing into an air gun, with the hair blowing dramatically, is also missing; one of those small but iconic theatrical flourishes that added both humour and visual flair, and is keenly felt in its absence.

That said, this production still has plenty going for it. Radebe’s own movement style has clearly influenced Lola, with salsa flourishes and shimmering details woven into the choreography, and that gives the role a distinct flavour. There are also moments of genuine heart, particularly in the nursing home scene, where a brief gesture between Lola and her father lands beautifully. It is in those smaller emotional beats that the show reconnects most strongly with what makes Kinky Boots so beloved. With all the changes made elsewhere, it might have been worth either adjusting the Clacton reference to better suit Radebe’s natural accent, or working with a dialect coach to ensure consistency between Lola and young Lola, as the mismatch is noticeable.

At the end, the cast proudly wave the Intersex-Inclusive Progress Pride Flag. This felt clearly choreographed rather than a spontaneous or individual moment. While I absolutely understand and support the message of inclusion and acceptance, if this was a deliberate staging choice, it might have been more fitting to incorporate a Drag Pride Flag to better align with the show’s central themes and culture.

Ultimately, this is a fun, high-energy production that audiences are clearly enjoying. As a standalone musical, it works. As a revival of Kinky Boots, it may leave long-time fans feeling that something has been lost along the way. Too many changes feel stripped back rather than reimagined, and too many iconic beats are either softened or missed entirely. Even so, the performances are strong, the energy is high, and there is enough joy in the room to understand why this version will still win over plenty of people.