Review: KINKY BOOTS Struts Its Stuff At Olney Theatre Center

There's something special about seeing a rising star take the stage in a bucket list role they were born to play. In Kinky Boots at Olney Theatre Center, veteran DC-area actor Solomon Parker III delivers a bravura, breakout performance, in a stunning production that sparkles from the opening curtain to the final bows. Parker plays Lola, a flamboyant drag queen, with a joyous, infectious energy that lights up the stage and powers the entire show. (In the interest of full disclosure, this reviewer has worked with Mr. Parker on a previous occasion.)

The plot of Kinky Boots is fairly straightforward: As he nears retirement age, Mr. Price (Stephen F. Schmidt) wants his son Charlie (Vincent Kempski) to take over running the family shoe factory in Northampton, England. Charlie has other ideas - a real estate career in London beckons - but in a fairly predictable plot twist, the elder Price dies suddenly, leaving Charlie to return home to save the family business. He quickly discovers Price & Son's biggest buyer has cancelled their contract, leaving him with a warehouse full of shoes, no one to buy them, and a workforce to lay off - that is, until he meets Lola, learns that most women's shoes can't support the weight of a male drag queen, and hits on a brilliant plan to convert the factory from men's shoes to women's boots (designed for men), based on Lola's clever designs. And just like that, Price & Son pivots to making Lola's Kinky Boots.

Kempski is another rising area star (recently seen in Into the Woods at Signature) and he is more than up to the task of playing opposite Parker. He has a gorgeous, powerful singing voice, and he makes thoughtful and carefully modulate choices when navigating the many moods that Charlie goes through while dealing with Lola, the factory employees, and his fiancé Nicola (Candice Shedd-Thompson, who does a good job with an underdeveloped character). The supporting ensemble is uniformly solid, with standout performances from Alex De Bard (another up-and-coming force in DC theatre) as Lauren, Charlie's nascent love interest, Chris Genebach as the crude and boorish factory worker Don, Sarah Anne Sillers as Trish, the single mother who needs her job running a sewing machine to survive, and Karl Kippola as George, the kindly old factory manager who is the rock when things get desperate. Special mention must be given to Dialects Designer Leigh Wilson Smiley - the accents in this production are flawless, and sound completely natural.

In stark contrast to the workaday denizens of the factory, the ensemble of drag performers and dancers that comprise Lola's "Angels" provide a colorful counterpoint, and they are a delight to watch. They drive many of the show's biggest production numbers, including The Land of Lola and Sex is in the Heel. Kudos to Choreographer Tara Jeanne Vallee and Associate Choreographer Shane Hall, Costume Designer Kendra Rai, Drag Consultant and Makeup Designer Devon Vaow, and Wig and Hair Designer Larry Peterson - their work adds a layer of sparkle and shine that elevates the production values to an exceptional level. Likewise, Music Director Christopher Youstra delivers both strong orchestral direction and superb vocal direction - vocals were clean and polished, and Director Jason Loewith (who also serves at Olney's Artistic Director) has crafted a clever, well paced production that is fun to watch, carefully playing the up tempo production numbers against the nuanced, contemplative scenes that advance the show's overall message of tolerance and acceptance. In his hands, the show's message is thoughtful, without preaching. (In his preshow remarks, Loewith somberly noted that 14 states are currently considering legislation that would restrict or ban public drag performances, an attack on not only drag performers, but the arts and LGBTQ communities, as well. It made the audience appreciate the exuberant evening that followed all the more.)

Soaring above all the wonderful performances of his castmates is Parker's Lola. He delivers a vibrant performance, full of energy and emotion. He has both the vocal range and acting chops to cover the over-the-top antics of Lola, but some of his finest moments come when Parker becomes Simon, the man behind the drag queen. Stripped of Lola's colorful armor and towering heels, and dressed in a man's suit, Parker's Simon seems much smaller and more vulnerable. It is these all-too-human vignettes that reinforce the empowerment that is the core of Lola's personality. Lola drives the show, but it is Simon who challenges Don to "accept someone for what they are." Parker covers every facet of both personas, and moves seamlessly through an ever changing landscape of emotions, without ever overacting or becoming too maudlin. His performance is certain to garner a Helen Hayes nomination, and it is not to be missed.

Kinky Boots is suitable for audiences of all ages, although young children may not pick up on the more risqué jokes. And the message of tolerance and acceptance is something we can all use in the polarizing political climate of our times.

Kinky Boots has already been extended through March 25th, and many performances are selling out quickly. Running time is approximately 2:20, with one intermission. For more information about Olney Theatre Center, click here.

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