Kinky Boots Musical

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Kinky Boots is a musical with music and lyrics by Cyndi Lauper and book by Harvey Fierstein.
2012 Chicago
2013 Broadway
2014 1st US Tour
2015 West End
2018 2nd US Tour
2018 UK Tour
Based on the 2005 British film Kinky Boots, written by Geoff Deane and Tim Firth and mostly inspired by true events, the musical tells the story of Charlie Price. Having inherited a shoe factory from his father, Charlie forms an unlikely partnership with cabaret performer and drag queen Lola to produce a line of high-heeled boots and save the business. In the process, Charlie and Lola discover that they are not so different after all.
Following the show's conception in 2006, the creative team was assembled by 2010. The original production of Kinky Boots premiered at the Bank of America Theatre in Chicago in October 2012, with both direction and choreography by Jerry Mitchell, and starring Stark Sands and Billy Porter as Charlie and Lola, respectively. It made its Broadway debut at the Al Hirschfeld Theatre on April 4, 2013, following previews that began on March 3, 2013. The musical began a US tour in 2014. The musical then ended on April 7, 2019.
Having initially been less well received by theatre critics and at the box office than another 2013 Broadway production, Matilda the Musical, Kinky Boots entered the 2013 awards season as an underdog. However, less than a month after opening, Kinky Boots surpassed this rival with audiences in weekly box office gross and later enjoyed a post-Tony boost in advance sales. The production earned a season-high 13 nominations and 6 Tony wins, including Best Musical, Best Actor for Billy Porter and Best Score for Lauper in her first outing as a Broadway songwriter, making her the first woman to win alone in that category. The musical's cast album premiered at number one on the Billboard Cast Albums Chart and number fifty-one on the Billboard 200 chart. Making its West End debut in 2015, in 2016, it won three Laurence Olivier Awards, including Best New Musical.
Kinky Boots is based on the 2005 British film of the same name,[1] which was in turn inspired by a 1999 episode of the BBC2 documentary television series Trouble at the Top. It followed the true story of Steve Pateman, who was struggling to save his family-run shoe factory from closure and decided to produce fetish footwear for men, under the brand name "Divine Footwear".[2][3] Daryl Roth, a Tony Award-winning producer,[4] saw the film at the 2006 Sundance Film Festival and fell in love with its "heart and soul". She felt that its themes resonated and thought that the story had potential as source material for a musical. Independently, Hal Luftig saw the film in London and agreed "that its heart and humanity (and bigger-than-life leading 'lady') would translate well to musical theatre."[5] Within a year, Roth secured the rights to adapt the film to the stage and partnered with Luftig, a Tony and Olivier Award-winning producer.[6][7]
By mid-2008, Roth and Luftig were in discussions with a potential director, Jerry Mitchell, but they still had not found writers.[8] When Roth sent Mitchell the DVD of the film, he was enthusiastic about it.[9] Roth and Luftig hired Mitchell to direct and Harvey Fierstein to write the book.[6][10] Mitchell knew that Fierstein and Cyndi Lauper were friends, and he thought they would make a good team to create the musical.[9] Fierstein agreed and eventually approached Lauper to write the songs[3] because he "saw in the adaptation an opportunity to work with someone with a big musical range, 'somebody who could write club music,' ... along with show tunes."[11] Lauper joined the creative team in June 2010.[12] Lauper's last project before Kinky Boots had been the album Memphis Blues, while Fierstein was working on Newsies when he began Kinky Boots.[11] The work marked Lauper's debut as a musical theatre songwriter,[10] although she had some theatrical experience, having performed on Broadway in the 2006 Roundabout Theatre Company production of The Threepenny Opera.[13] Among Fierstein's prior experiences were works about drag queens: La Cage aux Folles and Torch Song Trilogy.[14] Lauper has said that she identifies with drag queens.[15]
Fierstein and Lauper had both gained previous critical acclaim and honors in their respective fields. Fierstein had won four Tonys: acting and writing awards for Torch Song Trilogy, an acting Tony for Hairspray, and one for writing the book of La Cage; Lauper is a chart-topping singer-songwriter and actress who had won Grammy, Emmy and many other awards for her songs and performances.[16][17][18] Fierstein noted a change in focus between the film "about the saving of a factory" and the musical, which include "drag queens singing as they pass along the assembly line."[3][9] He said the main difference is that the musical is, "at its core, about two young men who come from seemingly opposite worlds who figure out that they have a lot in common, beginning with the need to stand up to their dads."[9] Lauper's inspirations ranged from the musicals South Pacific and West Side Story to Aaron Copland's Appalachian Spring and pop singer Lana Del Rey.[11] In a broadcast interview with Patrick Healy of The New York Times, Lauper and Fierstein said that, in adapting the film, they stressed themes of community and the universality of the father-son bond as vehicles to explore the issues of tolerance and self-acceptance.[19]
Kinky Boots was given a reading on October 6, 2011.[20] Lauper was actively engaged in refining the material once the cast began readings.[11] In January 2012, Roth announced that the show would be workshopped that month, and that Stark Sands and Billy Porter had been cast in the starring roles.[21][22] In August 2012, the producers announced the Broadway opening date of April 4, 2013.[10]
Charlie Price grows up as the fourth-generation "son" in his family business, Price & Son, a shoe manufacturing company with its factory in Northampton. Another young boy, growing up in London, is as fascinated by shoes as Charlie is bored by them. But in this case, it is a pair of red women's heels that have attracted his attention, aggravating his strict father. Years pass. Charlie's father is aging and hopes Charlie will take over the factory. Still, Charlie is eager to move to London with his status-conscious fiancée, Nicola, and pursue a real estate career ("The Most Beautiful Thing").
Charlie has barely made it into his new flat in London when his father dies suddenly. Charlie hurries home for the funeral, where he finds the factory near bankruptcy. The factory makes good quality men's shoes, but they are not stylish and not cheap, and the market for them is drying up. Charlie is determined to save the factory and his father's legacy, though he has no desire to run Price & Sons himself. The workers, many of whom have known Charlie his entire life, do not understand why Charlie moved away in the first place, and many are hostile and skeptical of the new management.
Returning to London, Charlie meets his friend and fellow shoe salesman, Harry, in a pub to ask for help. Harry can only offer a temporary solution and advises Charlie not to fight the inevitable ("Take What You Got"). Leaving the pub, Charlie witnesses a woman being accosted by two drunks. He intervenes and is knocked unconscious. He comes to in a seedy nightclub, where the woman he attempted to rescue is revealed to have been the club's drag queen headliner, Lola, who performs with her backup troupe of drag dancers, the "angels" ("Land of Lola"). Recuperating from his ordeal in Lola's dressing room, an uncomfortable Charlie notices the performers' high-heeled boots are not designed to hold a man's weight. Lola explains that the expensive and unreliable footwear is an essential part of any drag act.
Charlie returns to the factory and begins reluctantly laying off his workers. Lauren, one of the women on the assembly line, explodes at Charlie when given her notice and stubbornly tells him that other struggling shoe factories have survived by entering an "underserved niche market." This gives Charlie an idea ("Land of Lola" {Reprise}), and he invites Lola to come to the factory to help him design a women's boot that can be comfortable for a man ("Charlie's Soliloquy"/"Step One").
Lola and the angels arrive at the factory, and she is immediately dissatisfied with Charlie's first design of the boot. Quickly getting the women of the factory on her side, she draws a quick design of a boot, explaining the most important factor is by far the heel ("The Sex is in the Heel"). George, the factory manager, realizes a way to make her design practical. An impressed Charlie begs Lola to stay until a prestigious footwear show in Milan in three weeks to design a new line of "kinky boots" that could save the factory. Lola is reluctant since she is already receiving crass comments from Don, the factory foreman, and some of the other factory workers but is flattered by Charlie's praise and finally agrees.
Charlie announces that the factory will be moving ahead with production on the boots. He thanks Lauren for giving him the idea and offers her a promotion. She accepts and is horrified but thrilled to realize she is falling for him ("The History of Wrong Guys").
The next day, Lola shows up in men's clothes and is mocked by Don and his friends. An upset Lola takes refuge in the bathroom, and Charlie attempts to comfort her. Lola explains that her father trained her as a boxer but disowned her when she showed up for a match in drag. The two discover their similarly complex feelings toward their fathers, and Lola introduces herself by her birth name: Simon ("Not My Father's Son").
Nicola and her boss Richard Bailey arrive from London and present Charlie with a plan for the factory that Richard has drawn up: closing it and converting it into condominiums. Charlie refuses but is shocked to discover that his father had agreed to this plan before he died, presumably because Charlie was not there to run it. He refuses to sell, and soon the workers are celebrating as the first pair of "kinky boots" is finished ("Everybody Say Yeah").
Some of the factory workers are not enthusiastic about the radical change in their product line. Some of them, especially the intimidating Don, make Lola feel very unwelcome. Lola taunts him back, enlisting the female factory workers' help to prove that Lola is closer to a woman's ideal man than Don ("What a Woman Wants"). Lola presents Don with a unique wager to see who is the better "man": Lola will do anything that Don specifies if Don will do the same thing for her. Don's challenge is for Lola to fight him in a boxing match at the pub. Charlie, remembering Lola's background, is horrified. Lola easily scores against Don in the ring but ultimately lets Don win the match ("In This Corner"). Afterward, Don asks why she let him win, and Lola replies that she could not be so cruel as to humiliate Don in front of his mates. She gives him her part of the challenge: "accept someone for who they are."
Charlie is pouring his own money into the factory to ensure it will be ready in time for Milan, and he is getting frantic that the product is not right, angrily forcing his staff to redo what he considers to be shoddy work. Nicola arrives, fed up with Charlie's obsession over the factory, and breaks up with him. Lola has been making some decisions about production and preparations without consulting Charlie. When he discovers that she has decided to have her angels wear the boots on the runway rather than hiring professional models, an overwhelmed Charlie lashes out at her, humiliating her in front of the other workers. Lola storms out, and the factory workers go home. Alone, Charlie struggles with the weight of his father's legacy and what it means to be his own man ("Soul of a Man").
Lauren finds Charlie and tells him to come back to the factory. It is revealed Don has persuaded the workers to return to work and to sacrifice a week's pay to ensure the boots can be finished in time for Milan. Charlie is astonished and grateful and asks if Don has paid up on his wager by accepting Lola. Lauren explains that the person that Don has accepted is Charlie himself.
As he heads to the airport for Milan, Charlie leaves a heartfelt apology on Lola's voicemail. Meanwhile, Lola performs her act at a nursing home in her home town. After she leaves the stage, she speaks to her dying father, who uses a wheelchair, and reaches a sense of closure ("Hold Me in Your Heart").
Charlie and Lauren arrive in Milan. But without models, Charlie is forced to walk the runway himself. Lauren is thrilled by his dedication ("The History of Wrong Guys (Reprise)"), but the show threatens to be a disaster. Just as all seems lost, Lola and her angels arrive to save the day. Lauren and Charlie share their first kiss, and the whole company celebrates the success of the "Kinky Boots" ("Raise You Up/Just Be").
In Lauper's first effort at writing for the stage, she found that it required a sustained effort to write songs for the different characters.[23] Lauper joked about the difficulty of writing her first score: "How much of a stretch is it for me to write songs about fashion, funny relationships, people changing their minds and shoes?"[9] The first song that Lauper wrote was the opening number, which included a wide range of voices.[18] Her process was to conceive a song and sing it into her iPhone, and orchestrator Stephen Oremus would write it down.[9] Oremus would then "'blow up' the vocal line into harmonies, create the incidental music that linked scenes and songs" and orchestrate the material.[24] The songs range in style "from pop to funk to new wave to tango, with highly personal lyrics".[11] New York Times critic Melena Ryzik wrote: "Though there are plenty of hooky, rousing numbers, the emotional heart of Kinky Boots is several ballads about the weight of parental expectations."[11] The musical uses a twelve-piece orchestra consisting of keyboards, percussion, bass, guitars, reeds, violin, viola, cello, trumpet, and trombone.[25][26]
On August 30, 2017, songwriters Benny Mardones and Robert Tepper sued Cyndi Lauper for lifting elements from their song “Into the Night” for Kinky Boots’ final song “Raise You Up.”[27] The judge referred the case to a mediator, but no settlement was reached.[28]
Another reprise of Charlie's Soliloquy was added for the West End production in between "Not My Father's Son" and "Everybody Say Yeah."
Esau Burkert
Jaicub Burkert
Cody Hayes
Tyler Mackay
On February 6, 2012, the Chicago Tribune reported that Kinky Boots' producers were considering taking advantage of an incentive program from the State of Illinois for out-of-town tryouts for Broadway shows.[40] The October 2012 pre-Broadway Chicago tryout was announced on February 22, 2012.[41][42] On June 28, 2012 the full Chicago cast was announced.[43] The production was rehearsed at the New 42nd Street Studios in New York City in September 2012. The show began its pre-Broadway run at the Bank of America Theatre in Chicago, on October 2, 2012, which continued until November 4, 2012.[9][17][44] The show was directed and choreographed by Mitchell; scenic design was by David Rockwell, costumes by Gregg Barnes, lighting by Kenneth Posner and sound by John Shivers. The music director and orchestrator was Stephen Oremus. The director and design team had gained previous critical acclaim and theatre or music awards. Mitchell had won a Tony Award for choreographing the 2005 revival of La Cage aux Folles; Barnes and Posner had won Tonys; and Rockwell had been nominated for Tonys and other theatre awards.[16][17][18]
Mitchell and Rockwell had previously collaborated on Hairspray, Catch Me If You Can and Legally Blonde.[45] Mitchell told The New York Times that the "Everybody Say Yeah" scene, in which the cast celebrates the creation of the first pair of Kinky Boots with a choreographed celebration on conveyor belts, required repeated innovations and adjustments like the eventual addition of safety rails and actor controls for the apparatus.[46] Designer Derek McLane commented that it is not uncommon for repeat choreographer/set designer collaborations to result in intriguing innovation like the conveyor belt dance scene in Kinky Boots. McLane was impressed with the "series of conveyor belts that came apart, moved around, and fit the context of the story" in order to accentuate the choreography of "a troupe of men in four-inch heels". With respect to the conveyor belts, he said, "They've never been used as dynamically as this, creating a series of surprises, with the kind of wild athleticism that actually looks dangerous. It's one of the more thrilling combinations of stage design and choreography that I can recall."[45]
After the tryout, the team went back to work, adding a new musical number for Charlie and a second song in the drag club, removing another song, and revising the book.[3] The Broadway debut started previews on March 3, 2013 at the Al Hirschfeld Theatre, with the official opening on April 4, 2013.[47][48] Both the Chicago and original Broadway casts starred Billy Porter as Lola, Stark Sands as Charlie and Annaleigh Ashford as Lauren.[17][43] Porter, in particular, was singled out for critical praise.[49][50]
The New York Times noted that in the 2012–13 season, most of the new Broadway musicals were "inspired by movies or books".[10] The paper found the show timely for its treatment of problems that paralleled those at the time of its production, including "chronic unemployment, financial distress and the collapse of manufacturing".[48] Prior to the June 9, 2013 Tony Awards, Kinky Boots had trailed its box office competitor, Matilda the Musical,[51] in advance sales.[52] However, less than a month after opening, Kinky Boots surpassed this rival in weekly box office gross.[53] Kinky Boots won a season-high six Tony Awards, including Best Musical. The next day, the show sold $1.25 million tickets, and its advance ticket sales for future dates became a hot commodity.[52] In the weeks following its Tony wins, the show became so popular that in the beginning of July a special ticket lottery system was created to keep fans from camping outside the theatre.[54] Kinky Boots set a new box-office record at the Al Hirschfeld Theatre,[55] and "recouped its $13.5 million capitalization in a relatively quick 30 weeks of performances",[56] which was "faster than any big budget musical in recent history."[57][58] In October 2013, Kinky Boots had the second highest premium-price tickets on Broadway behind only The Book of Mormon.[56] After its six-year run (closing on April 7, 2019), the show had grossed $319 million.[59] Following Christopher Balme’s commodification paradigm, one could suggest Kinky Boots’ unprecedented financial power is a consequence of the musical’s ability to “tap into
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