Kinky Boots

Inside Her Majesty's Theatre there's a fair bit of swan-necking going on as Cyndi Lauper (composer/lyricist for Kinky Boots) takes her seat.

Kinky Boots was adapted from the Joel Edgerton-starring movie, which was itself inspired by true events, and Melbourne is the lucky chosen city for this musical's Australian premiere. Lauper took home the 2013 Best Original Score Tony for Kinky Boots (one of the six Tony Awards won by this musical), making her the first woman to win alone in that category.

Gazing stageward, we're transported to the British village of Northamptonshire via an authentic-looking brick facade: the exterior of Price & Son shoe factory. Once inside, a centrestage staircase elevates the action into an office - making good use of a 'mezzanine' level (although at intermission we're told the restricted view of this area, from some seats, means they could only catch from-the-ankles-down action).

There's guffaws early on as Young Lola (eight-year-old Elijah Slavinskis) sashays and struts confidently across the stage in heels. Then as soon as we meet the two main Kinky Boots characters, Charlie and Lola, we care about them immensely. There's a touch of Farnsie in the power notes of shoe factory heir Charlie (Toby Francis) and his facial expressions while reacting during dialogue with other characters are completely convincing. Prize fighter/drag queen Lola (Callum Francis, from the original West End cast) gets the crowd whooping enthusiastically during upbeat banger Land Of Lola with graceful arm movements and an expressive performance that's finessed right down to the eyeball movements; Diana Ross springs to mind. (Lauper's cheeky lyrics are particularly noteworthy here: "I'm Black Jesus, I'm Black Mary/But this Mary's legs are hairy.") The friendship chemistry between Charlie and Lola also totally believable.

She recently excelled as Kate Monster/Lucy in Avenue Q (Prince Moo Productions) on this very stage and Sophie Wright shows she's right up there with the best here as Lauren, her comic timing impeccable while performing The History Of Wrong Guys solo on stage. Vocals are very high up in the mix, which assists our comprehension throughout, but when the orchestra does strike up during instrumental breaks we bop in our seats. All clap and sing along for the duration of the Everybody Say Yeah conveyor-belt scene that calls to mind OK Go's incredible Here It Goes Again (aka The Treadmill Song) music video and leads us into intermission. Jerry Mitchell's choreography somehow conceals the varied levels of dance ability within this cast to produce one big party during which breaches in technique are quickly forgiven (even the look of intense concentration Toby Francis wears throughout ensemble dances).

After admiring those who parade their own kinky boots (many red and covered in glitter) around the foyer, we excitedly return to our seats for Act Two. What A Women Wants provides many 'Amen' moments. The dexterity of Lola's Angels while completing acrobatic tricks in those sky-high stiletto boots could only be fully appreciated by those who've actually tried to walk in a pair. Ingenious staging sees a boxing ring created using only a few white straps and a long, perfectly-formed, stiletto-heeled leg as makeshift pole. The slow-motion boxing match between Lola and Don (Daniel Williston, from the original Toronto production, excels) is a highlight. We worry Francis will pop a vein he puts so much of himself into Charlie during Soul Of A Man. And you'll probably need to squeeze hands with your neighbour, for emotional support, throughout the aged care facility scene. Lauper's songs are so catchy that they sound familiar, especially Lola's Hold Me In Your Heart, which evokes classic Whitney Houston ballad I Have Nothing. The audience applause/hollers last for so long after this number that we could now be pushing this theatre's curfew.

The final catwalk scene succeeds in rivalling the show-stopping conveyor-belt scene and we're left feeling genuinely uplifted by this show's overall "Just Be Who You Want To Be" message, which is so important and relevant right now. There's a Custom Plates ad in the Kinky Boots programme, which seems appropriate given that this musical inspires us to celebrate all shades of unique fabulosity. You'll leave wishing you could spend more time in the company of these characters. Four and a half diva snaps.

Kinky Boots is at Her Majesty's Theatre, Melbourne until December.