Review: Kinky Boots - Londonderry Musical Society

Society name: Londonderry Musical Society

Show name: Kinky Boots

Adjudicator date of attendance: 11/03/2026

Londonderry Musical Society took on the vibrant, high-energy challenge of Kinky Boots with clear ambition and enthusiasm, tackling one of modern musical theatre’s most demanding contemporary scores and staging requirements. It is a show that requires exceptional confidence, technical polish, slick choreography, and strong emotional storytelling to truly soar, and while this production did not always fully achieve the precision the material demands, there was undeniable heart, commitment, and determination on display throughout the evening.

Director Alan McClarty found the strongest success in the principal storytelling, particularly in the emotional journeys of Charlie and Lola. Their relationship formed the heart of the production, and their evolving dynamic was clearly and thoughtfully developed across the evening. The emotional arc between the two landed well, with several scenes carrying genuine weight and sincerity. Charlie’s relationships with those around him were also well differentiated, allowing the audience to clearly understand the dynamics at play within his world. Blocking of principal scenes was generally solid, with good attention given to positioning and stage pictures, though some scenic placements occasionally distracted rather than enhanced the storytelling. Broader use of the full stage space could have created more dynamic and visually engaging compositions.

Where the direction could be strengthened was in the handling of ensemble and factory scenes. At times, these lacked the detailed realism needed to make the factory feel like a believable working environment, with some background business appearing arbitrary rather than purposeful. In a show so rooted in workplace dynamics, the ensemble’s onstage activity must feel motivated and practical. Similarly, some of the larger production numbers, particularly the opening and “Step One,” felt somewhat static and could have benefited from more movement and momentum to better establish the world of the show. There was also a tendency toward overplaying in some ensemble performances; greater grounding and consistency of style would help create a more cohesive world overall.

Musically, Peter Doherty kept the score moving at an appropriate pace, with tempos generally well judged and the evening maintaining momentum throughout. However, sound balance issues significantly impacted the musical presentation, making it difficult at times to fully appreciate the orchestral work. Wind instruments were almost entirely lost in the mix, strings were only intermittently audible, and the overall orchestral texture often felt thinner than the score requires. There were also occasional timing inconsistencies between pit and stage, with cast members visibly waiting for musical cues or underscoring. Ensemble harmonies occasionally lacked confidence and balance, particularly in larger numbers where internal lines overpowered the melody. Despite these challenges, the company continued gamely and the musical pacing remained steady throughout.

Choreographically, this was an area where the production struggled to fully meet the demands of the material. Kinky Boots requires confidence, glamour, polish, and stylistic flair, and while the company approached the choreography with enthusiasm, the execution often lacked the precision and finish needed. There were visible inconsistencies in timing and technique across the ensemble, with some performers appearing unsure of the choreography at times. The movement vocabulary often felt repetitive and somewhat basic for a show that thrives on bold, dynamic visual spectacle. In some instances, choreography appeared to stretch beyond the technical comfort level of certain performers, particularly in kicks and tricks. As ever, choreography tailored to the strengths of the cast will always prove more effective than ambitious material performed hesitantly. With additional rehearsal time and further stylistic coaching, this area could improve significantly.

Luke de Belder gave a thoughtful and emotionally grounded performance as Charlie Price, charting the character’s development from reluctant heir to determined leader with sincerity and clarity. His emotional journey was particularly strong, and his confrontation with Lola carried genuine dramatic impact. Vocally, Luke’s voice was well suited to the more lyrical elements of the score, and while some of the higher belt passages appeared to push him vocally, his upper register eased considerably when he moved into falsetto. A well-considered and sincere portrayal.

William McFadden was one of the standout performers of the evening as Lola, delivering a charismatic, layered, and highly engaging performance. He captured both Lola’s fabulous confidence and Simon’s vulnerability with sensitivity and assurance, creating a portrayal full of heart and humanity. Physically he moved extremely well in heels and fully inhabited the role’s physicality, while vocally he sang with warmth and control throughout. His emotional work was particularly effective, and he maintained a strong connection to the character from start to finish.

Caitlyn Kelly proved a true audience favourite as Lauren, bringing excellent comic timing and infectious energy to the role. She hit every comic beat with confidence, made strong choices throughout, and created a hugely entertaining and watchable performance. Her chemistry with Charlie was excellent, and she balanced ensemble integration with standout moments very effectively.

Orflaith McGee delivered a solid vocal performance as Nicola, with a voice well matched to the material. While the character can naturally be somewhat difficult to warm to, some visual adjustments, particularly around hair styling obscuring facial expressions, would help the audience connect more fully with the performance.

David Keown was a comic highlight as George, delivering his dry humour with excellent timing and understated control. Importantly, he also captured the warmth beneath the wit, conveying George’s caring, dependable nature and making him feel like the true backbone of the factory operation. It was a warm, likeable, and very well-observed performance.

Among the supporting cast, Adam Goudy impressed as Don, capturing the character’s unpleasant bravado convincingly while also making his eventual change of heart believable and satisfying. His boxing scene was a particular highlight. Natalie Armstrong brought great confidence and attitude to Trish, delivering a bold and entertaining performance, while Scott Hawthorne sang strongly and brought excellent energy to Harry. Brendan Brady’s Mr. Price would benefit from a more naturalistic acting approach, and some vocal tuning issues were noticeable.

The younger performers both made strong impressions. Noah Given delivered a charming and confident Young Lola, particularly impressive in heels, while Daniel Moynihan gave a grounded and sincere performance as Young Charlie.

The Angels showed flashes of strong potential, with Grace Cavanagh and Niamh Murray standing out as particularly confident movers, and Gary McHugh, Matthew Irwin, and Simon Quigg also bringing commendable physical commitment. Chamberlain Ndu unfortunately lacked confidence in the choreography. As a unit they lacked the polished cohesion and confidence that these iconic roles demand. Greater stylistic coaching and rehearsal would help the group develop into a stronger visual and performance unit.

Featured ensemble players Joshua Donnell, Amy Astbury, Christine Baggley, and Lorraine Roddy all contributed effectively in their roles, with Amy particularly notable vocally and Christine bringing excellent comic work and accent execution to her featured moment.

The ensemble as a whole worked hard throughout the production and brought strong commitment and energy to the stage. Vocally they produced a good sound despite the challenges of the sound mix, and there was clear enthusiasm in their performance. They would benefit from more detailed character work and stronger background acting choices to make the ensemble scenes feel richer and more believable, particularly in factory sequences where environmental realism is so important.

Visually, the set was one of the strongest aspects of the production. The factory design was polished and impressive, with the upper office level and moving staircase particularly effective additions that added scale and depth to the stage picture. Additional scenic details such as machinery and practical set pieces helped establish the world well. The sliding panels forming the factory façade looked effective, though scene changes occasionally lacked smoothness, with some moving pieces colliding with static set. Greater precision in stage management coordination would improve transitions and maintain immersion.

Costuming was strong overall, with the boots, appropriately, serving as a particular highlight. The finale costumes in particular created a striking final image and added real visual impact. Most costumes were well fitted and character appropriate. Hair and wigs were more variable in quality, with some visible wig mesh and untidiness detracting slightly from the finish. Make-up was generally effective, particularly for Lola and the Angels, who looked appropriately glamorous and stylised.

Technicals were unfortunately the area most in need of refinement. Lighting lacked consistency in both cueing and focus, with several cues appearing late or incorrectly placed. There were missed opportunities to enhance storytelling visually, including moments where practical lighting changes referenced in dialogue did not register on stage, and scenic reveals that were not sufficiently highlighted. Follow-spot work also lacked precision, with some featured performers left underlit or entirely untracked during key vocal moments.

Sound presented similar challenges. Excessive reverb reduced vocal clarity and contributed to feedback on several occasions, while numerous microphone cues were missed or delayed. Balance between orchestra and cast remained inconsistent throughout, with percussion, winds, and strings all suffering from uneven integration into the mix. Greater technical polish in both departments would elevate the overall standard of the production enormously.

Front of House deserves commendation for creating a warm and welcoming atmosphere from the moment patrons arrived. The audience experience was handled efficiently and professionally, contributing positively to the evening and reflecting well on the society’s commitment to presentation and hospitality.

Overall, Londonderry Musical Society should be applauded for taking on such a technically and theatrically demanding production. Kinky Boots is no easy undertaking, and there was much to admire in the company’s ambition, effort, and commitment. Strong principal performances, an impressive set, excellent costumes, and clear emotional storytelling gave the production many enjoyable moments. With further focus on technical refinement, choreography polish, and ensemble detail, this company has all the ingredients to take future productions to an even higher standard. There is clear talent and passion within the society, and with continued development and attention to detail, they are well positioned for continued success.