With just a few weeks left of its Sydney run, I finally caught Kinky Boots at the Capitol Theatre recently. This was one of those musicals I knew I had to see. It ticked so many boxes for me. It was based on a movie that thoroughly charmed me. Cyndi Lauper, one of my greatest musical idols, wrote the songs. Harvey Feirstein, another one of the world’s special talents, wrote the book. It promised glitter, sequins, and pizzazz. Tick, tick, and tick. My expectations were high, yet this very special production exceeded it.
If you’ve seen the movie, you’re already familiar with the story. Boy grows up around his father’s shoe factory, but wants to carve out his own destiny rather than living his dad’s life. Father dies. The boy, now a man, is torn between his desire to find his own path and his wish to save his father’s legacy. He discovers he can do both when he breaks with tradition and turns his father’s factory into the most fabulous production facility for drag queen boots. Throw in a love triangle and a touching friendship between two very different principle leads and you get the idea.
The story of Kinky Boots is a simple one, but it’s one with real heart. Cyndi Lauper builds on the tale beautifully with one of the best original music soundtracks I’ve heard in some time. Needless to say, I bought the CD before I left the theatre. The building blocks are there, but the Australian production has helped this music live up to its potential. Toby Francis’ Charlie is sweet yet complex. Sophie Wright as Lauren is endearing and so relatable. Teagan Wouters’ Nicola is frustratingly self-absorbed, but she plays the piece’s villain well. But it is Callum Francis as Lola who fittingly steals the show. He understudied the role in London but he’s now relishing the spotlight. Every time he was on the stage, I couldn’t take my eyes off him. What a talent he is.
If like me you’ve procrastinated about getting your tickets, do not delay. Kinky Boots is a special musical. The songs are first rate, the actors incredible, and the story one that nourishes your soul. Don’t miss it. It closes in Sydney in August, when it hits the Brisbane’s Lyric Theatre.
The musicians from Adelaide band 
Young MC kicked off proceedings, he of “Bust a Move” fame. I didn’t expect a lot from Young MC, to be honest, but he proved a real surprise package. He’s put on more than a few kgs since the 90s, but he still performs with great enthusiasm. He’s clearly loved his time in Australia; his Blues State of Origin jersey and his unexpected cover of “Beds are Burning” showed the affection he has for the country. “Bust a Move” got us all grooving, just as we knew it would. His rapid-fire rapping at the end was a parting reminder that Young MC has more talent than the average one-hit wonder.
Tone Loc couldn’t quite live up to his superlative introduction in my eyes. The big hits like “Wild Thing” and “Funky Cold Medina” were good fun, but Young MC had set such a high bar. Tone was certainly solid, and the moment when he brought some hot young things on stage to dance along with him a real highlight. Maybe I was just feeling a lull as I waited for Color Me Badd to take the stage.
Color Me Badd were one of my favourite “boy bands” of the 90s. The songs, the moves, the harmonies … well, they’ve got two out of three of them now. When I saw the set times earlier in the week, I was gutted that Color Me Badd got just 15 minutes on stage. However, even that dragged for me. This was a set that left me with so many questions. When did they shrink from a five-piece to a three-piece? Where did my favourite, Sam Watters, go? Did they really think no one would notice if they switched out one black guy with another? When did Bryan Abrams balloon and then decide he wasn’t going to do the choreography any more? Honestly, it was all a bit painful. Bryan wandered around aimlessly, singing just always slightly out of the pocket, while the other guys from the band danced around him. They delivered the big three songs – “I Wanna Sex You Up,” “All 4 Love,” and “I Adore Mi Amore” – but as a fan from way back when, I wish they’d given us “Choose” instead of “Blame it on the Boogie.” When you feel you have to rely on covers to fill a 15-minute slot, it’s a bit sad.
Coolio brought things back on track. I was never a massive fan back in the day, but he totally charmed me. He was such a giving performer, left of center but entertaining from start to finish. “C U When U Get There,” which he dedicated to the memory of so many figures we’ve lost like Prince, Muhammad Ali, Aliyah, and Whitney Houston, was so special. “Gangsta’s Paradise” had us all in raptures. I rose to my feet to applaud him off, so impressed was I with his set.
Salt-N-Pepa were another big drawcard for me and, unlike Color Me Badd, they delivered. Those women have lost nothing over the years. They sound phenomenal, they look the business, and they know just how to move. They also still travel with such good looking backing dancers. Their abs, my god. Thanks for that ladies! As a woman growing up at a certain time, Salt N Pepa have a huge part of my heart. They taught me a different way that women could be, so confident and unapologetic. Finally seeing them live, and seeing them still at the top of their game, it really made the night for me.
I had long questioned the decision for Vanilla Ice to headline, and I did so again after Salt-N-Pepa performed so phenomenally. What on earth could he do that would top them? Would this show limp home? I’m going to say the show limped home, because I was sort of entertained, but in that sort of car crash way. He spent the first few “songs” freestyling about being in Sydney, teasing us with references to the Teenage Mutant Ninja Turtles and Ice Ice Baby. A good rapper can freestyle and have you in the palm of their hand. But Vanilla Ice, well, it just sort of felt like he was filling up a set. I won’t say I wasn’t bemused by his talk of what he got up to in the 90s, including some R. Kelly inspired sexual encounters. But then there were weird trance-dance passages that just felt like noise. I considered leaving, but I don’t think you can skip out on Vanilla Ice without hearing “Ice Ice Baby.” It was far from a perfect rendition. His voice was never strong, but it’s gotten much rougher over the years, and that detracted. But you’d be lying if you said you don’t enjoy that song. That big single should have been his swan song, but he continued on afterwards. Needless to say, I didn’t stick around to find out how long. It’s a long way back from Homebush to the Central Coast, and I’d seen what I came to see.
When I reviewed 
