Kinky Boots Walks Tall at FRT 

The musical Kinky Boots, written by Harvey Fierstein (music and lyrics by Cyndi Lauper), is about the journey of self-expression fraught with internal and external barriers. And, yes, it's about boots. The 2005 British movie from which the musical is adapted is inspired by the real-life story of a declining family-owned shoe business that makes a comeback by pivoting to high heels for men.

Ferndale Repertory Theatre has chosen an apt play to run during Pride month since main character Lola (Kombujia aka Virgo Marroquin) and her supporting ensemble group (Roux Kratt, Izzy Ferraro, Rigel Schmitt, Glit Clit) are drag queens. Their existence as out, proud and fabulous in juxtaposition to the other main character Charlie (William English III), and his mundane factory employees is the conceit of the musical. The two protagonists are opposites with shared material goals (that's the boots) and existentially (to live as your authentic self). Within their conjoined stories, everyone (yes, you too) will find something that resonates with their own. Some will be lifted by seeing themselves in the extraordinary representation on stage amid a range of skin tones, body types, and LGTBQ+ identities. Some will recognize the struggle of trying to find where you fit in. Everyone will see a great story told in song and dance on stage.  

Korbin Cambell and Rigel Schmitt are charming in the opening father/son scene as young Charlie and Mr. Price, respectively. Schmitt is earnest as a father trying to share his life's work with his young son. Campbell is very present and convincing as a young Charlie somewhat overwhelmed by his father's interest in shoes. 

When next we see Charlie, a likable if unfocused, young man played by English. He gives Charlie a magnetic energy that keeps us interested in his journey to discover his own life's purpose. Charlie may seem like a poster-boy ally, but he is flawed in a way that reflects many well-meaning straight people who think they're doing enough.

Lola bursts onto the stage like a supernova, leading her Angels in a drag show with verve and pizzazz. Kombujia plays her with superstar-level confidence, making her seem untouchable at first, then showing vulnerability in moving moments of uncertainty.  

Tiggerbouncer Custodio's (a Journal contributor) direction encourages emotional highs and lows tied together in theme, creating a clear, tapestried and immersive story. Costumes by Olivia Gambino, choreography by Cleo Z. DeOrio and Custodio's stage direction create contrasts in the ensembles that reflect differences between their associated protagonists. The result is characters impressive in their individuality within their respective themes — they are their own characters without confusing or complicating the story. The Angels certainly have their work cut out for them with stylized, provocative dance moves, while factory employees are more sedate. The costumes speak to the characters and help tell the story: muted uniforms for the factory employees, bold individual looks for the Angels. The set is well put together and marks different locations clearly. I especially love the revolving wall revealing a bar. Happily, the music does not overwhelm the cast's voices, hitting the Goldilocks of volume: just right. The songs are wide-ranging in energy and style, supporting the protagonist's journey.

Lola overcomes bigotry and betrayal with a lot of strength and sass but without any kind of partner or support. Of course, her Angels are on her side, but their support is silent and indirect. Everything she goes through, she experiences alone. Charlie, on the other hand, has his fiancé Nicola (Jesse McQuade) to push him one direction, love interest Lauren (Samahri Brice) to pull him another and factory foreman George (Brad Harder) to help him shoulder factory responsibilities. I'm unsure if the asymmetry is art reflecting life or life reflecting art, but it is one example of nuanced storytelling layered throughout the piece that, if you let it, could make you think.

The evening I attended had a few off moments, as it seemed to take everyone a couple of numbers to really get their energy out. There were some strained voices and some actors lost their light once or twice. The quiet moments were muddied by a humming just loud enough for my brain to fixate on. However, none of it interfered with the story or is likely to be repeated. Those imperfections are the fingerprints in the clay that tell you it's art made by people. 

There are many reasons to see this musical: to support local artists and local theater, to celebrate the 2S LGBTQIA+ community, to enjoy song, dance and story, and to stretch your mind and heart. Also, if you've ever been curious about drag shows but too intimidated to go, this is a great chance to see a little bit of show within a show. When you see just how fun it is, you can catch some of the very same performers at local drag shows. Like the song says, "You change the world when you change your mind."

Ferndale Repertory Theatre's production of Kinky Boots runs through July 2 with performances Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. Call (707) 786-5483 or visit ferndalerep.org.

Doranna Benker Gilkey (she/her) will accept you just as you are. She hates glib slogans for life-and-death matters, but since some things must be said: Protect trans kids. Love is love. Drag is Shakespearean, not a sin. 

COMING SOON

Study up for Dell'Arte's The Finals at the Carlo Theatre June 15-16, when the professional training program's ensemble shares original pieces. Visit dellarte.com or call (707) 668-5663.

Exit Theatre hosts its Short Play Festival June 16-25, with original works no more than 10 minutes long and focusing on the theme of journeys. Visit theexit.org or call (415) 203-2516.

Dell'Arte's Baduwa't Festival: A Gathering of the People takes place on and around the Blue Lake campus June 22-July 2. Stay tuned for a full schedule at dellarte.com.