Review! Kinky Boots at London Coliseum, March 2026

As one wanders the West End, it appears that a large contingent of theatres are occupied by screen-to-stage adaptations. Whilst being based on the 2005 film of the same name, Kinky Boots is a step above the rest with its inherent theatricality, dynamite songbook, and unapologetic acceptance of its subject matter. One would assume that the world needs this show for its escapism. However, I was most struck by the timely reverence of a show that dares to explore gender stereotypes and how we must look past our own prejudices. In the end, Kinky Boots is a show about the unlikely friendship of polar opposites coming together. Boy, do we need that now.

Under the stewardship of director Nikolai Forster, this production takes inspiration from Jerry Mitchell’s original whilst also going its own way, giving the show a more earthy feel. The Colosseum is a behemoth of a stage and, previously, many traditional musicals have been swallowed up by it. Forster and set designer Robert Jones solve this issue by using the entire depth of the stage. The main factory set is rustic and has multiple levels, which the staging uses to effective effect. However, the question is how visible this will be to people not in the stalls. The same cannot be said for the sound design: key lines of dialogue were lost (another long-term issue of the Colosseum), which is a true shame as Harvey Fierstein’s book is one of Kinky Boots’ true assets.

Arguably the USP behind this production is Strictly veteran Johannes Radebe as Lola. Previously portrayed in award-winning turns by Billy Porter and Matt Henry, Radebe has huge shoes to fill, but he makes it his own in a performance filled with pointed precision. Whilst best known as a dancer, he also brings an assured stage presence and excellent comic timing. As a vocalist, he is perhaps not as at home; a decision to supply some of his singing lines to the Angels is perhaps to accommodate this. However, he holds his own on the Colosseum stage, especially with the deftly performed “I Am Not My Father’s Son.”

Alongside Radebe is X Factor alumni Matt Cardle as the show’s protagonist, Charlie Price. Cardle is no stranger to musical theatre, with recent performances in & Juliet and Memphis, and he shines in his ability to act through song. A decision to give his eleven o’clock number, “Soul of a Man,” a more acoustic and stripped-down arrangement is a brave choice. As an actor, I found he grew into the role and gave Price a likeable quality, nicely counterbalancing Radebe. He perhaps has the most difficult job when it comes to the material he’s given, being the “straight man” whilst the other characters are given more to do and express in Fierstein’s book; however, Cardle acquits himself perfectly well.

Arguably this production’s strongest element is its dynamic and electrifying choreography by Leah Hill. Whether it’s the slick and story-driven factory numbers, or the high-octane moments with Lola and her Angels, Hill’s choreography is exciting and truly takes over the stage, using Radebe to his full potential. Kudos must go to Act One and Act Two’s closing numbers, “Everybody Say Yeah!” and “Raise You Up,” respectively.

There are also fine performances from the ensemble. Courtney Bowman is effortlessly charming as love-struck Lauren and brought the house down with the iconic “The History of Wrong Guys,” thanks to her comic timing and vocal range. Scott Paige brings his reliable grace and makes something memorable of the slightly underwritten factory foreman, George. One of the best performances is given by Billy Roberts as bigoted antagonist Don. The relationship he has with Lola, drawn on differing perceptions of what it is to be a man, is expertly realised, and their sparring matches (figuratively and literally) are among the production’s highlights.

Kinky Boots has arrived back in London at exactly the right time. Despite some slight shortcomings with the sound design, and the fact that Charlie’s turn into prejudice in Act Two doesn’t quite ring true from a book-writing perspective, it is a show that wears its heart on its sleeve and delivers its message with aplomb and pride. Everybody say yeah? I sure did!

⭐⭐⭐⭐

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Written and reviewed by Alex Farley on behalf of The Theatre Flyer