With this review, Coachella Valley Theatre World is trying something new: Having more than one writer write about the same production, each under their own byline. Making our first attempt easier, June and Audrey generally agree about Desert Theatreworks’ fine presentation of Kinky Boots. June is emphasizing the music, the story, and the performances, and Audrey is primarily writing about the staging and the stage.

For those Baby Boomers and up who remember Saturday Night Live’s Dan Aykroyd and Jane Curtin in their sendup of 60 Minutes’ debates between James J. Kilpatrick and Shana Alexander, we promise that our dual reviews will not sink to the level of Dan Aykroyd’s infamous pronouncement, “Jane, you ignorant slut.” Stay tuned to see how our idea fares.

​Sing Out, Say Yeah Till They Hear You

By June August

Straight from the “I couldn’t say this better myself” department are the words of Desert Theatreworks’ (DTW’s) Artistic Director Lance Phillips: “Kinky Boots is a beautiful tapestry, woven with threads of inspiration, inclusion, hope…a celebration of inner strength, giving voice to those who aren’t heard.”  

While it’s always a risk to quote from the program notes (even with a minor edit), in this case Desert Theatreworks delivered a lively, opening-night performance to an appreciative audience.  With music and lyrics by Cyndi Lauper and book by Harvey Fierstein, Kinky Boots sings out about the power of embracing one’s true identity.  Those were the elements for the show’s 2005 hit on Broadway.

Originally a film, Kinky Boots is based on a factual story about a shoe factory in Northamptonshire, England, that hasn’t kept pace with changing style trends.  We first see young Charlie (Trevor Rabe) with his father (Marcello Tulipano), who is attempting to imbue his son with the long tradition of the factory.  In counterpoint, we also see the young Lola (Cesar Pineda) hearing about his father’s values. 

By the time the adult Charlie (Nick Adorno) inherits the business from his late father, the factory is in decline, and he is challenged with saving the business and the jobs of all his loyal employees.  But Charlie is engaged and plans to leave the area.  And when he notices his fiancée Nicole (Michelle Bachman) admiring an expensive pair of shoes, she tasks him with buying them for her—before they get married—for their new life in London.  Nicole is ready to leave, but Charlie is not. Threatened with the factory’s bankruptcy, he struggles to live up to his father’s legacy and forestall a sale that would transform the factory premises into modern apartments.

Here’s where you might expect someone to come along with an idea to solve Charlie’s dilemma. So Lauren (Georgina Medina), one of Charlie’s employees, suggests that he find a niche market for the factory.  But miracles don’t happen overnight.  Charlie sees a drag performance starring Lola (Robert Garcia), with whom he forms an unlikely partnership to produce boots for drag queens. Okay, you want a Hollywood ending—and you’ll get it  However, I won’t reveal how they get there because it would be a spoiler, and you should find out for yourself. 

But before I sign off, I want to acknowledge several highlights:   Robert Garcia’s poignant, convincing performance as Lola; Charlie’s and Lola’s powerful rendition of the duet “Not My Father’s Son”; Georgina Medina’s humorous, engaging characterization of Lauren; clever, attention-grabbing staging and set by Lance Phillips; exciting choreography by Anthony Nannini; absolutely fabulous Finale costumes by Lance Phillips; believable fight choreography by Steven Blackwell; and energetic performances by the entire Ensemble.

I also have two notes.  The first is for actors and directors.  It’s challenging enough to consistently deliver an understandable accent that is unfamiliar to local audiences.  Midlands English is no exception.  For the sake of your audience, please be especially conscious of enunciation and articulation, even more so while you’re singing. 

And this for your future audiences.  The sound system and music tracks are intense.  If you wear a hearing device, you might feel more comfortable if you sit toward the back of the mainstage theater.

To Desert Theatreworks, I wish you a successful run.

What Clever Staging and Terrific Set Design!

By Audrey Liebross

I’m a sucker for top-notch staging and choreography, and clever sets. Seeing a musical on Broadway or an Equity Broadway tour can be breathtaking. Can anything really compare with the Phantom’s piloting his boat towards his lair, with Christine staring out in wonder at the candles?

When I see a community theatre production of a Broadway hit, I’m obviously not looking for Gillian Lynne’s choreography or Maria Björnson’s costumes and sets. The question for me is how well did the production utilize the resources available to the company. Sometimes that means keeping the dance steps simple to allow volunteer performers to keep in sync with each other. It can also mean how well the set, costume designers, and prop designers made use of the options available.

In Kinky Boots, set designer Ron Phillips and costume designer Lance Phillips did a fabulous job adding visual interest. I’m never sure whether large, movable, wheeled pieces of equipment that sometimes serve as a stationary platform for action and at other times moved during dance routines are properly classified as pieces of the set or as gigantic props, but I’ll go with the former. The dancers and other cast members interacted with wheeled carts and a treadmill-style conveyor belt. These provided a low-tech, low-cost way to spice up the choreography.

Between Lola’s charisma, the emotional interactions between Charlie and Lola, the fine singing (Steve de Bassecourt’s basso profundo and Geo Medina’s belt), and the dancing, the cast performed admirably. And I can’t forget a shout-out to the adorable Trevor Rabe and Cesar Pineda, as young Charlie and young Lola, respectively.

This production of Kinky Boots provides a rollicking good time, with its visual and aural delights. This is a show you won’t want to miss.                                                         

CREATIVES, CAST, AND CREW 

Book by Harvey Fierstein; Music and Lyrics by Cyndi Lauper

Full Cast: Nick Adorno (Charlie); Robert Garcia (Lola); Geo Medina (Lauren); Michelle Bachman (Nicola / Referee/ Vocal Captain); Steve De Bassecourt (Don); Lance Phillips (George, 11/3-11/4) & Herb Schultz (George 11/5-11/26); Terri Griffin (Pat); Stacy Casaluci (Trish); Marcello Tulipano (Mr. Price/Archie); Stephen Blackwell (Simon Sr/Richard/Bailey/Pete/Fight Choreographer); Fuz Edwards (Oliver/Set Captain); Bonny Link (Maggie/Milan Sm); Alex Cheney (Harry /Purple Angel); Cesar Pineda (Young Lola); Trevor Rabe (Young Charlie); Jeremiah Garcia (Green Angel/Sound Asst.); Violet Feath (Gold Angel/Dance Captain); Nicole Kaufman (Blue Angel).

Creatives and Crew:

Lance Phillips (Director/Artistic Director/Costumes); Ron Phillips (CEO/Producer/Set) ; Douglas Katch Gray (Musical Director); Anthony Nannini (Choreographer); Adriana Reyes (Company Manager/Lighting/Stage Manager/Sound  Board); Cecelia De La Torre (Sound  Board); Kevin Mann (Assistant Director/Props); Sound  Design (Miguel Arballo); Tess Phillips (Hair/Makeup); Tresa Oden (ASM); Monica Sterling & Renata Munoz (Backstage Crew); Susanna Reyes (Costume Mistress); Andrew Abril (Light Board Operator); Cheyenne Pennington & Landon Sterling (Follow Spots); Tara Howard (Photography); James Rodriguez (House Manager).

Kinky Boots will run through Sunday, November 26, 2023, with performances Thursdays through Sundays. Performances begin at 7:30 p.m. except for those on Sundays, which take place at 2:00 p.m. and except for an extra matinee performance on Saturday, November 25th, at 2:00 p.m. (in addition to the evening performance). Check the ticket purchase information at www.dtworks.org for prices or call (760) 980-1455. All performances take place at the Indio Performing Arts Center, 45175 Fargo Street, Indio, CA 92201. In partnership with C4 Communication, DTW will have ASL Interpreters at the Saturday, November 25th 7:30 p.m. performance.

The rest of the 2023-24 season consists of:

Christmas With The Crawfords (November 17th - December 30th) puts the “fun” back in dysfunctional, in a must-see, R-rated holiday extravaganza. The venue for CHRISTMAS WITH THE CRAWFORDS is the Margaritaville Resort, 1600 N Indian Canyon Drive, in Palm Springs.

A Christmas Story (Dec. 1-Dec. 21, 2023) Based on the classic 1983 holiday movie, A CHRISTMAS STORY follows nine-year-old Ralphie Parker, a daydreamer from Indiana who spends his days counting down to the most exciting day in any kid’s life: Christmas. All he wants is an official Red Ryder Carbine-Action 200-shot Range Model Air Rifle, but as his parents and teachers warn him, “You’ll shoot your eye out!” Perfect for the whole family.

Gilligan's Island - The Musical (Jan. 5-28, 2024) “Just sit right back and you’ll hear a tale…” America’s most iconic sit-com from the 1960’s comes to the stage reincarnated as a fun family musical. Written by the original TV show’s creator, Sherwood Schwartz, all the show’s beloved characters seem to have leaped straight from the TV screen to the big stage, bringing their hilarious adventures along with them. Will they finally make it off the island?

eil Simon's Plaza Suite (Feb. 2-25, 2024) You simply cannot miss the DTW annual production by legendary playwright and four-time Tony winner Neil Simon. Two actors play three different couples in one famous hotel room and the comedy ensues…

Beautiful: The Carole King Musical (March 1-24, 2024) For six years, BEAUTIFUL, the Tony and Grammy Award-winning Carole King musical, thrilled Broadway audiences with the inspiring true story of Carol King’s remarkable journey from teenage songwriter to the Rock & Roll Hall of Fame. Featuring over two dozen pop classics, including “You’ve Got a Friend,” “One Fine Day,” “Up on the Roof,” “You’ve Lost That Lovin’ Feeling,” “Will You Love Me Tomorrow,” and Natural Woman,” this international phenomenon is filled with the songs you remember.

Harper Lee's To Kill A Mockingbird (April 12-28, 2024) Adapted from the Pulitzer Prize-winning novel by Harper Lee, the play tells the well-known story from the book and motion picture.

Photo Credit: TARA HOWARD