[Woody’s [rating: 4]
Touring company appears to enjoy “Kinky Boots” as much as the audience. Photo by Matthew Murphy.
- Kyle Taylor Parker (right) and Steven Booth star in “Kinky Books.” Photo by Matthew Murphy.
- High-steppin’ cast of “Kinky Boots” works hard at SHN Orpheum Theatre. Photo by Matthew Murphy.
When it comes to worshipping at the altar of pop-rock singer-composer Cyndi Lauper, I’m a late latecomer.
At the height of her popularity in the 1980s, I wasn’t particularly taken with her voice, her compositions or her rebel-punk image.
I wasn’t even enthralled with her first big hit, “Girls Just Want to Have Fun,” a feminist anthem she reconstructed from Robert Hazard’s original male anthem.
But, then, I’m a boy.
However, when my wife and I saw Lauper perform at the Black & White Ball, the symphony’s fundraiser, on the streets of San Francisco in 2012, we became fans.
And now, having gone to the SHN Orpheum Theatre to hear the LGBT activist’s latest tunes in “Kinky Boots,” which won six 2013 Tonys (including best original musical), our delayed adoration has grown even more.
Others obviously share the attraction.
Those who hand out the Tonys, for example. They gave her one for writing last year’s best original score, making her the first woman to win that honor solo.
The 61-year-old also won a Grammy for this year’s album of the show.
The musical, an upbeat two-hour-plus toe-tapper overflowing with humor, proves that — contrary to Nancy Sinatra’s chartbuster — some boots are made for dancing rather than walking.
Even if you’re hesitant about a show that spotlights a flowing white gown on a man — plus numerous high heels, sequins, feathers and cross-dressers — you’re apt to enjoy this one.
Especially its poignant everyman ballads that mirror difficult relationships between parents and offspring.
The main theme is acceptance of differences (and getting past stereotypes and bias, despite the show being filled with stereotypes and clichés) — and finding forgiveness.
In San Francisco, where the opening night audience was about 90 percent un-straight, those notions drew mammoth applause and cheers.
Our seats, in fact, happened to be surrounded by drag queens in full regalia, including glitter, whiteface, battery-lighted fuzzy hats and, naturally, high boots.
They made me think that, although the local run is scheduled to end Dec. 28, the musical potentially could sell out in the Bay Area forever.
Its mass appeal may have exceptions, though. Like the four elderly ladies sitting in the rear with dour expressions opening night that may have indicated they’d bought tickets to the wrong show.
The predictable storyline of “Kinky Boots,” based on the 2005 British film with the same title, has Charlie Price, a young Northampton owner of a failing shoe factory, getting help from Lola, a transvestite cabaret star.
They start producing tall high-heeled boots aimed for cross-dressers, so they must appeal to a wearer’s feminine side while supporting a man’s weight.
Kyle Taylor Parker is astounding as Lola, evoking sympathy and compassion while singing in multiple registers, and Steven Booth displays passion, vulnerability and power in the role of Charlie.
Although Parker’s diva rendition of “Hold Me in Your Heart,” is a showstopper, so is a comedic number, “The History of Wrong Guys,” performed by Lindsay Nicole Chambers as Lauren, an assembly worker with a crush on Charlie.
The raucous “Sex Is in the Heel,” featuring Lola and six backups, The Angels, also is a major crowd-pleaser.
“Everybody Say Yeah” is yet another winner. It’s a gospel-like rocker highlighted by performers dancing, sitting and reclining on a moving — and separated — assembly line.
But the song that touched my heart and sensibilities the most was a tender duet between Lola and Charlie, “Not My Father’s Son.”
Lauper’s lyrics, by the way, are inspirational spirit-boosters — for drag queens, heterosexuals and virtually anyone with a heartbeat.
They can encapsulate significance in a few words.
• “You can’t move on if you’re still in the past.”
• “There’s a roomful of people who need to feel normal — comparatively speaking.”
• “You’re in my fantasy.”
The book by Harvey Fierstein is alternately funny and sensitive, albeit a tad preachy.
Jerry Mitchell deserves plaudits, too, for his direction and vigorous choreography — including a distinctive slo-mo boxing ring scene.
Still, “Kinky Boots” isn’t for everyone.
Those uncomfortable with not hearing every lyric enunciated perfectly, or having to decipher a makeshift English accent, or with in the company of transvestites or others different from themselves are advised to stay home.
For the rest, it’s pretty much a guaranteed evening of good feelings, glitz ‘n’ glamor.
“Kinky Boots” will play at the SHN Orpheum Theatre, 1192 Market St., San Francisco, through Dec. 28. Night performances Tuesdays through Saturdays, 8 p.m. Matinees, Wednesdays, Saturdays and Sundays, 2 p.m.; Special performance, Friday, Dec. 26 at 2 p.m. Tickets: $75 to $300 (subject to change). Information: (888) 746-1799 or shnsf.com.
