Fear of the other, prejudice, toxic masculinity, and self-suppression are just as prevalent today as ever. And while in many parts of our country, the fight for equal rights is taking steps backward, there is still hard work being done to champion equality for everyone, regardless of any aspect of their identity.
One such champion has been Olney Theatre Center Artistic Director Jason Loewith, who has challenged tradition, broadened representation, and advocated diversity. And, at the opening night curtain call of Olney’s production of Kinky Boots on February 16, Loewith was presented with several proclamations from Montgomery County and the State of Maryland to acknowledge and applaud those significant contributions.
It was a beautiful moment to witness and added the perfect punctuation to an outstanding start to the run of Kinky Boots, a show that celebrates pride, individuality, acceptance, and community.
Harvey Fierstein wrote the book, and Cyndi Lauper wrote the music and lyrics for the award-winning musical that follows reluctant shoe manufacturer Charlie Price as he attempts to save his family’s failing business in Northampton, England, by teaming up with Lola, a drag queen from London with extraordinary creativity and a personality to match. Charlie struggles with his own insecurities and preconceived bias as the charismatic Lola works to prove to the less-than-welcoming people of Northampton that all humans deserve acceptance and people often have far more in common than they do differences.
Vincent Kempski plays Charlie, a promising young man who moves to London with his fiancée, Nicola (Candice Shedd-Thompson), to form a career in real estate. Kempski conveys Charlie’s easy yet troubled character with all his uncertainty — his resistance to following the family tradition of shoes, which are wholly unremarkable to him, and his drive to do something yet defined. Charlie is only sure of what he does not want — and that is something mediocre.
Kempski captures the change and his first spark of passion in “Step One” as Charlie has embraced his role at the factory and believes he is on to a solution to save the company. The excitement on his face and in his voice shows a hope and clarity that were overshadowed by self-doubt before.
Solomon Parker III plays Lola, who is the catalyst for change in Charlie and the trajectory of the business and all its employees. Parker was every ounce of Lola’s required energy, charisma, charm, sass, intellect, and emotion. Parker was Lola. And the audience could feel it the moment that gorgeous Queen stepped on stage.
The excitement in the theater was palpable and the sheer joy of watching a performer living in a role, like Lola, is remarkable. Parker first appears performing with fellow drag queens the Angels (Malachi Alexander, Quadry Brown, Robbie Duncan, Shane Hall, Daniel Powers, and David Singleton) in “The Land of Lola,” immediately turning the energy of the room from “enthusiastic” to “Beatles fan girl.”
Lola’s and the Angels’ costumes, designed by Kendra Rai, are vibrantly colored, which marks a contrast to the more muted colors of the workers, subtly symbolizing the vivacity that is needed (and about to be imbued) in the dying company.
And while Parker’s Lola is the belle of the ball, those Angels work. The technical aspects of the show were seemingly flawless and downright jaw-dropping at moments, most notably when the Angels slide onto the stage via the factory conveyor belt and proceed to dance and strut on top of them (think dancing on a treadmill) in “Everybody Say Yeah.” This number in particular highlights the level of precision and collaboration between the entire creative team.
Tara Jeanne Vallee’s choreography throughout the production is phenomenal, and not just when the Angels are on stage. Factory worker Lauren, played by Alex De Bard, who births the brainchild of switching their product to the underserved niche market of sexy boots for men, sings — correction: belts like her life depends on it — “The History of Wrong Guys,” and the other employees go about their business obliviously in the background, save for accentuated movements paired with the music, as if their bodies were unconsciously tethered like an electronic boomerang.
But Kinky Boots is not one continuous, party fever fest. The same level of intensity and emotion exists in moments of self-reflection and pain. After being harassed by Don (Chris Genebach) for coming to the factory in men’s clothing, Parker’s Lola sings “I’m Not My Father’s Son” reflecting on her father’s rejection,
And the best part of me
Is what he wouldn’t see
… I’m not my father’s son
I’m not the image of what he dreamed of
Parker touched my heart in this wrenching number. And the exquisite harmonies, once Kempski’s Charlie (recognizing his own feeling of inadequacy to his father) joins in, elicit full-blown tears.
That relatability between Charlie and Lola is a driving point in the show, and should be in life. If we find what we share in common, instead of being so hellbent on focusing on our differences, then we can also find a way toward acceptance with better understanding and work together.
Olney’s Kinky Boots is poignant, inspirational, and in every part mastery at work. From Sarah Ann Sillers’ rich, delicious tone in “Price and Son Funeral” as Trish to Genebach’s gruff and bristly Don, the musical is one continuous highlight reel.
Director Loewith, with Music Director Christopher Youstra and the entire production team, has taken Fierstein and Lauper’s work and filled every note with a genuine hope and heart that spills into the audience from the moment the show begins.
Loewith describes this perfectly in a note from the program, stating, “While we’re offering a communal exercise in joyous abandon for our community with Kinky Boots, we’re also offering inspiration and acceptance to those in our audience who are trying to find their place in the world.”
Kinky Boots is a must-see production, and if Olney doesn’t scoop up a ton of nominations for their stellar work, then I will be in complete shock. This show is a well of positivity that we all need right now. And, as my 17-year-old who came with me aptly said when the lights came up, “Damn. That was good!”
Running Time: Approximately two and a half hours, with one 15-minute intermission.
Kinky Boots runs through March 26, 2023, on the Main Stage at Olney Theatre Center, located at 2001 Olney-Sandy Spring Road, Olney, MD. Tickets range from $42 to $95 and are available for purchase online or by calling the box office at 301.924.3400. For further details on related events and accessibility, go here.
The program for Kinky Boots is online here.
COVID Safety: Masks are required at performances on Wednesdays and Sundays. Masks are recommended but not required at performances on Thursdays, Fridays, and Saturdays. For complete health and Safety details, go to the website.
Kinky Boots
Music and Lyrics by Cyndi Lauper
Book by Harvey Fierstein
CAST
Don: Chris Genebach; Mr. Price/Ensemble: Stephen F. Schmidt; Young Charlie: Grayden Goldman/Dustin Sardella; George/Ensemble: Karl Kippola; Lauren: Alex De Bard; Pat/Ensemble: Kaiyla Gross, Trish/Ensemble: Sarah Anne Sillers, Young Simon: Zach Cook/Henry Harleston; Simon Sr./Ensemble: Ricardo Blagrove; Nicola/Ensemble: Candice Shedd: Thompson; Charlie: Vincent Kempski; Harry/Ensemble: Calvin McCullough; Lola: Solomon Parker Ill; Angels: Malachi Alexander, Quadry Brown, Robbie Duncan, Shane Hall, Daniel Powers (through March 12), Connor James Reilly (after March 12), David Singleton; Richard/Ensemble: Stephen Russell Murray, Dance Captain: Shane Hall; Fight Captain: Ricardo Blagrove
U/S
Lola: Quadry Brown; Don: Stephen Russell Murray; Mr. Price: Karl Kippola; Charlie: Calvin McCullough; Harry: Stephen Russell Murray; George: Ricardo Blagrove; Lauren: Kaiyla Gross; Angels: Alexis Krey; Simon Sr.: Tyrell Stanley; Trish: Catrina Brenae; Pat: Catrina Brenae; Richard: Tyrell Stanley; Nicola: Sarah Anne Sillers; Swings: Catrina Brenae, Alexis Krey, Tyrell Stanley
PRODUCTION/CREATIVE TEAM
Book: Harvey Fierstein; Music and Lyrics: Cyndi Lauper; Music Direction: Christopher Youstra; Choreography: Tara Jeanne Vallee; Direction: Jason Loewith; Scenic Designer: Milagros Ponce de León; Costume Designer: Kendra Rai; Lighting Designer: Max Doolittle; Sound Designer: Matt Rowe; Fight Choreographer: Casey Kaleba; Wig Designer: Larry Peterson; Makeup Designer & Drag Consultant: Devon Vaow; Production Stage Manager: Ben Walsh; Assistant Choreographer: Shane Hall; Dialects Designer: Leigh Wilson Smiley; Director of Production: Pope Jackson; Associate Artistic Director/Director of Music Theatre: Christopher Youstra
LIVE ORCHESTRA
Conductor/Keyboard/Programmer: Christopher Youstra; Keyboards: Walter “Bobby” Mccoy; Alto & Tenor Sax, Clarinet, and Flute: Andrew Axelrad; Trumpet, Flugelhorn: S. Craig Taylor; Trombone: Joe Jackson; Guitar: Kim Spath; Electric Bass: Jason Wilson; Drums: Angel Bethea
