For the latest of my reviews of recently released London Cast recordings, I’m revisiting a show that I’ve already reviewed the Broadway Cast recording of - Kinky Boots. Again, as with both the previous London Cast recordings, it’s based on the movie of the same name. If you read my review of the Broadway Cast, you may recall I didn’t like it very much - probably an understatement - so I was interested to see what the London cast made of the piece.

First, a recap. In Kinky Boots, Charlie Price (played here by Olivier award nominee Killian Donnelly) has suddenly inherited his father’s shoe factory, which is on the verge of bankruptcy. Trying to live up to his father’s legacy and save his family business, Charlie finds inspiration in the form of Lola (Olivier Award winner Matt Henry). A fabulous entertainer in need of some sturdy stilettos, Lola turns out to be the one person who can help Charlie become the man he’s meant to be. As they work to turn the factory around, this unlikely pair finds that they have more in common than they ever dreamed possible. The love interest here is the excellent Amy Lennox, who was also nominated for an Olivier.

As you will see from the above, it faired very well in the Oliviers, as it did in the Tony Awards. It also picked up the Olivier for Best New Musical and Best Costume Design. For me, the score is still patchy. On repeated listening though, some numbers such as 'Hold Me In Your Heart' and 'Raise You Up' certainly start to grow on you. Indeed, one of the numbers ‘Not My Father’s Son’ is becoming a particular favourite of mine.

I prefer this recording to the Broadway Cast for a couple of reasons. Firstly, I think the performances are better across the board. The show seems to have more life too, and I think it’s because this version was recorded live in the theatre. There’s very little indication of this, apart from a few claps, and whilst I’m not usually a fan, I think this has added to the value and authenticity of this version.

I still think Lauper’s score could have been a whole lot better, and it’s saved by Oremus’s orchestration skills, but this is certainly a more rewarding listen than the Broadway Cast.

7

Ian Gude