Kinky Boots struts into the Regent Theatre this week with a burst of colour, charm and high-heeled heart, delivering a night that is both uplifting and irresistibly entertaining. This touring production brings together a strikingly strong cast, a vibrant score and a message that still lands with full force.
Kinky Boots tells the story of Charlie Price, a young man who inherits his family’s struggling shoe factory and unexpectedly finds salvation through an unlikely partnership with Lola, a larger-than-life drag performer who inspires him to save the business by producing daring, fabulous, high-heeled boots. What begins as a clashing of worlds becomes a heartfelt journey of acceptance, identity and self-belief. The musical is based on the 2005 British film of the same name, which itself was inspired by the true story of a Northampton shoe factory that reinvented itself through niche footwear. With a book by Harvey Fierstein and a vibrant pop-infused score by Grammy icon Cyndi Lauper, Kinky Boots premiered in Chicago in 2012 before opening on Broadway in 2013, where it went on to win six Tony Awards including Best Musical. Its West End production followed in 2015, earning three Olivier Awards and cementing its status as a modern musical favourite celebrated for its infectious energy and message of acceptance. Now, it’s once again on tour with fresh direction from Nikolai Foster ahead of a West End stint next year.
At the centre of the production is Tosh Wanogho-Maud, who delivers a magnetic, vocally stunning and wonderfully layered performance as Lola. From the moment he steps into the spotlight, he commands the stage with effortless charisma and razor-sharp wit.
His vocals are a standout feature — rich, soulful and packed with emotional heft. “Land of Lola” dazzles with pure showbiz sparkle, while “Hold Me in Your Heart” is delivered with such sincerity that the audience sits in hushed admiration. He also dances extremely well and proves he is a true triple-threat. Wanogho-Maud balances Lola’s glamour with real vulnerability, creating a performance that feels both joyous and deeply human.
Courtney Bowman brings warmth, charm and razor-edged comic timing to Lauren. Her rendition of “The History of Wrong Guys” is a masterclass in physical comedy and vocal agility, landing every laugh without ever losing the character’s sincerity. She is an undeniable crowd favourite and lifts every scene she enters.
A special mention must go to Scott Paige, who proves a comic highlight as George. His timing is impeccable, and his performance injects levity at just the right moments. He offers a full commitment to character and this pays off massively. It was pleasing to see that Paige gets an additional chance to shine in “In This Corner” which he delivers perfectly.
Dan Partridge’s Charlie Price offers a solid emotional anchor to the story, even if the character’s writing remains one of the show’s weaker elements. Some of Charlie’s narrative beats feel abrupt, but Partridge delivers them with conviction, and his performance of “Soul of a Man” is full of texture and emotional clarity.
Billy Roberts makes a memorable Don, bringing both swagger and heart as his character softens and evolves. Jessica Daley’s Nicola is sharply played — driven, ambitious and unapologetically forthright. Kathryn Barnes also deserves a mention for some excellent characterisations, dancing and vocals.
It is, however, disappointing that the production has cut the child versions of Charlie and Lola from this section of the tour. Their addition is an important part of the show, especially in revealing key information about Lola’s childhood.
The ensemble — including newcomers Nathan Daly, Annell Odarty, Craig Watson and a large group of returning cast members — attack Leah Hill’s choreography with precision and infectious energy. Numbers like “Everybody Say Yeah” and the final “Raise You Up / Just Be” radiate joy and momentum, filling the theatre with celebration.
The factory set is a functional, visually engaging backbone of the production, with enough depth and height to give the choreography room to breathe. However, scenes outside the factory feel visually plain, lacking the same level of detail or invention.
Ben Cracknell’s lighting adds welcome flourishes of colour and atmosphere, though it can only do so much to elevate the flatter scenic moments. Costumes are similarly mixed: Lola’s wardrobe dazzles, but the Angels’ outfits veer between polished and oddly unfinished, sometimes undermining the glamour the show thrives on.
Cyndi Lauper’s music remains an undeniable joy. Catchy, heartfelt and bursting with character, the score is played with precision and warmth. The sound is crisp, the vocals blend beautifully, and the emotional beats of the story shine through.
Kinky Boots in Stoke is a confident, feel-good night at the theatre: exuberant, funny and carried by a knockout performance from Tosh Wanogho-Maud. While some design elements and character arcs could be sharper, the show’s heart, message and sheer entertainment value win out.
Kinky Boots plays at the Regent Theatre until Saturday 30th November 2025 where it continues its UK tour.
Photography throughout from Pamela Raith.
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