Tag Archives: Killian Donnelly

“Kinky Boots” at the Adelphi Theatre

Here’s another musical based on a movie, this time the hit Broadway adaptation of a sweet true story about a Midlands shoe manufacturer saved from bankruptcy by making boots for transvestites. It’s a model musical with basic morals, a focused plot and nicely developing characters you care about. And, judging by the audience’s rapturous response, it looks as if it will kick up its heels and run and run. Given the footwear worn by the cast, that’s no mean achievement.

Kinky Boots is more a collection of songs than true musical theatre… but it is an excellent collection. Putting aside the opening couple of numbers, there’s variety, originality and an exceptionally high hit rate. The production has some issues with delivery from the chorus, making lyrics hard to hear. But these songs feel like old friends, such is their instant appeal – it’s like a jukebox musical without the back catalogue. It’s still fairly hard to believe that Cyndi Lauper’s score won the Tony over Tim Minchin’s Matilda in 2013, but that’s awards for you.

Amy Lennox (Lauren) and Killian Donnelly (Charlie) in Kinky Boots - photo Matt Crocket
Amy Lennox and Killian Donnelly

Killian Donnelly plays Charlie Price, who has just inherited the family business, and is top-notch with a tremendous solo number, ‘Soul of a Man’. There’s a standout turn from Amy Lennox as his love interest, whose quirky delivery of ‘The History Of Wrong Guys’ is a real crowd pleaser. In the lead role of Lola, the drag queen turned shoe designer, Matt Henry sounds superb but his comic skills need honing and, ironically, he doesn’t seem that comfortable in drag… yet. Another problem is that the ensemble feels split, with the shoemakers trying too hard to compete with Lola’s superb troop of backing singers. Since these ‘Angels’ include performers who can do a back somersault in heels, those in the factory lose out a little too obviously.

Backing up the show is Harvey Fierstein’s book and impeccable direction, including choreography, from Jerry Mitchell. It’s an understatement to say they know what they’re doing. Both Broadway legends, their work is almost ruthlessly efficient. Fierstein can write a put down better than most (Lola wouldn’t trust herself to “babysit a cactus”) but the focus is Lauper’s feelgood soundtrack, which elicits near hysterical responses from people around me. I wouldn’t go quite that far, but it’s definitely fun, and Kinky Boots can hold its head tall. And, in those heels, that’s very tall indeed.

Until 6 February 2016

www.kinkybootsthemusical.co.uk

Photos by Matt Crocket

“Memphis” at the Shaftesbury Theatre

Memphis was a success on Broadway, winning four Tony Awards, including the coveted Best Musical trophy. Now at the Shaftesbury Theatre, it’s easy to see why it was such a hit. One of those shows that wears its heart and soul on its sleeve, it is, in the cast’s joyous catchphrase, totally hockadoo!

Aspiring white disc jockey Huey, based on real-life radio pioneers in the 1950s, falls in love with black music and starts to make it mainstream. Huey’s career provides one story arc, with racial tensions abounding and exacerbated by a burgeoning love affair with the talented black singer Felicia. While simplistic, to its credit, Memphis doesn’t shy away from the realities of sexism or violence, giving the show plenty of dramatic tension.

The book by Joe DiPietro is tightly constructed and the themes inspirational enough to guarantee a thoughtful feelgood factor. The script has enough one-liners to inject humour and director Christopher Ashley’s efficiency produces a fast moving show that builds momentum nicely. Music is from former Bon Jovi star David Bryan. Sighs of relief that this is an original score (it could so easily have been another jukebox musical) but more impressively, that there are some great numbers. In keeping with the topic, the musical sources are broad; rock ’n’ roll, blues, gospel (my favourite) and a nice pop hit called ‘Someday’, which I bet you’ll be humming as you leave.

The set design by David Gallo is slick and the high-energy choreography by Sergio Trujillo thrilling. The gymnastic ensemble is vigorous and if some of the secondary roles could be fuller, in particular that of Huey’s mother who has an unconvincing comedy number, each performer embraces time in the spotlight as if they were in a stadium. This is a star vehicle; the story of Huey and Felicia so perfectly embodies the bigger themes, and in these roles Killian Donnelly and Beverley Knight shine.

cropmemphisinsert-credit-Johan-Persson
Killian Donnelly

The focus of the story is madcap MC, Huey, and Donnelly doesn’t waste a line, be it sung or spoken. He’s one of those performers who makes of virtue of showing how hard he is working, and we warm to him throughout. As for the luminous Knight, it’s hard to believe Memphis is only her second stage role. Each time she hustles on stage, starting to sing as soon as she can, the atmosphere is magnificent. Knight’s acting skill isn’t negligible – she can hold a big stage and that is hard – but she’s really there for the singing and her voice will make you want to visit Memphis more than once.

Booking until 31 October 2015

www.memphisthemusical.com

Photos by Johan Persson

“The Commitments” at the Palace Theatre

The Commitments isn’t the kind of show that recommends itself to reviewers – I can’t think of a more lamentable coupling than a jukebox musical riding on the tails on a popular film. But the critics have been kind. And the public has already voted with its feet. The Commitments is now booking until September this year.

Roddy Doyle’s book (the film came in 1991) is set on a council estate in Dublin well before any talk of Celtic Tigers. A group of locals form a band and, well, that’s it, really. There’s plenty of class-consciousness and the generally inspiring idea is that music changes lives, but very little else.

It’s no small achievement that director Jamie Lloyd manages to mask how thin the whole thing is and make it entertaining. Working at a terrific pace, he brings out plenty of humour and utilises Soutra Gilmour’s stunning set so that the whole thing has a slick West End feel.

And the performances will win you over. Denis Grindel has great stage presence as the band’s instigator and manager – you really believe he could get this thing going. Killian Donnelly gives a tremendous performance as Deco, the most naturally accomplished performer, with the arrogance to match. Joined by a host of talented others, including Sarah O’Connor, Stephanie McKeon and Jessica Cervi, who all sound great, and the band’s skinhead bouncer (Joe Woolmer), who gets the biggest laughs. It’s an achievement for such a large cast to individuate themselves.

As billed, The Commitments is hard working and there’s plenty of noise and action, with lots of crude gags that are more hit than miss, even if the ratio is a close call. Quickly into the second half any idea of a story is abandoned in favour of a concert. It seems an honest move that could have saved everyone a lot of trouble if adopted from the start. From hereon in, if soul music is your thing, you are bound to join in the fun.

Booking until 19 April 2015

http://thecommitments.london

Written 23 February 2014 for The London Magazine