REVIEW: Kinky Boots - Swich Up Productions

Kinky Boots - Swich Up Productions (no, it’s not misspelt – it’s short for Ipswich!)

Ipswich Civic Centre

Book by Harvey Fierstein

Music & Lyrics by Cyndi Lauper

Director: Adrian Carr

Musical Director: Julie Whiting

Choreographer: Holly Leeson

Photography: Kris Anderson

"Be yourself; everyone else is already taken."

For this production of Kinky Boots, Ipswich did not come to play! The Civic Centre foyer was full of boots, glitter, and people who clearly understood the assignment. Maybe it was the pre-show runway, or maybe it was the reputation of Swich Up Productions, now firmly cemented as an award-winning company. Either way, for a one-weekend-only season, this was a must-be-there event.

And what an event it was. The story follows Charlie, who inherits his family’s struggling shoe factory and, through an unexpected partnership with drag performer Lola, sets out to save it in a most unconventional way. Kinky Boots explores growth, shifting perspectives, leading with kindness, and looking beyond the surface.

At the centre of it all was Carl de Villa as Lola, stepping into the role just three weeks before opening. If you didn’t know, you’d never guess! Carl was completely at home, bringing a cheeky confidence and effortless charisma that never wavered. Vocally, they soared, with Hold Me in Your Heart landing as a true highlight — soulful, glamorous, and emotionally grounded (in a white gown that absolutely delivered). There was a playful ease to the performance that made Lola instantly loveable and undeniably magnetic. And not to be weird, but their legs deserved their own applause.

Conor Ensor as Charlie anchored the show with emotional weight. Vocally, he was rock solid. Those belts are no joke! But it was his acting that cut through. Charlie’s downward spiral was uncomfortable in the way it needed to be: harsh, messy, and recognisably human. Audience members audibly reacted to his unwarranted cruelty, a testament to how effectively the performance landed. Soul of a Man became an intense emotional release, charged with power and control by Conor. You found yourself rooting for him, while also begging him to make better choices.

Jaime O’Donoghue as Lauren was a scene-stealer. She leaned fully into Lauren’s awkward chaos with impeccable comedic timing and a beautifully easy vocal in her solo The History of Wrong Guys. I love that the show tries so hard to convince us she is not a catch with the sweater, the pigtails, the brash accent… and respectfully, I did not believe it for one second. Jaime completely overruled that narrative with her sheer star quality.

Dominic Bradley as Don was thoughtfully handled, evolving beyond a close-minded bully into something far more accepting. There was a subtle shift across his performance that allowed the audience to soften towards him without ever fully letting him off the hook. It made his arc land with more weight than I expected it would.

Abby Page’s Nicola was perfectly insufferable (compliment!) Sharp, polished, and just the right amount of cutting, she leaned into the role with confidence, making every appearance deliciously frustrating in the way only a well-played antagonist can be. Fiona Buchanan and Simone Behrendorff grounded the factory world with personality and humour. Their presence added a sense of history and community warmth to the space, making the stakes of the factory’s future feel more tangible and personal.

The Angels brought unstoppable energy every time they hit the stage. Slick, cohesive, and clearly having a fabulous time, they lifted the pace of every number they were in. A special mention to Isaac Brown, whose punchy rock-pop vocals in In This Corner cut through with soaring clarity and fierce attitude.

Visually, there was plenty to take in. The set didn’t just sit at the back of the stage, it surrounded the performers from all sides, creating a fully realised world that transported us straight into a British factory. Detailed brickwork, an upper-level office, moving staircases, and conveyor belts — yes, fully functioning conveyor belts — were not just impressive but cleverly embedded into the choreography by Holly Leeson. Lighting and projections were outstanding, particularly in split scenes, and the handcrafted props added lovely authenticity. There was a clear sense of care in every visual choice.

And then there were the costumes. The Angels? Iconic. Wigs, makeup, costumes, and boots were exactly the right amount of flamboyance that you want from Kinky Boots. Every time the Angels hit the stage, the energy jumped several levels… as it should. Lola’s wardrobe and wigs became an event in itself too.

Musically, the production packed a punch. Under Julie Whiting’s direction, the blend of live band and EDM elements gave the score a driving, high-energy edge, with numbers like Sex Is in the Heel hitting with a club-like dazzle. The ensemble harmonies were clear and bright, featured actors shone with ease, and there was a shared momentum that carried right through the show. The Most Beautiful Thing in the World stood out with its full-bodied, resonant vocals, while What a Woman Wants took the crown for me.

Of course, there were a couple of small hiccups. At times, muffled dialogue was hard to catch over the underscoring. A persistently ringing phone during Not My Father’s Son also pulled focus from what should have been one of the show’s most tender moments — and you could feel the audience collectively losing their patience each time it rang again. Apologies to the cast. Theatre etiquette is such a peeve of mine.

Revisiting this show again after almost a decade since it came to QPAC, what stayed with me most was the heart of the piece. This is a production that celebrates individuality without apology. It champions openness, kindness, and the courage to be unapologetically yourself. It does not tiptoe around its message either: drag is not niche… "drag is mainstream", it is powerful, and it belongs.

And when it’s all wrapped up in big voices, bold visuals, and a cast clearly having the time of their lives… how could you not say yeah?

Be yourself. Be loud. Wear the boots!