Kinky Boots Struts Into Belfast: A Dazzling Debut at the GOH

If ever there was a musical that could lift the spirits, tug the heartstrings, and dazzle with drag and drama, it’s Kinky Boots.

Having played the fierce and fabulous Lola myself in a production last year, I was more than eager to see how the Grand Opera House’s new touring version would deliver — especially with the beloved Strictly Come Dancing icon Johannes Radebe taking on the role that holds such a special place in my heart. Opening night did not disappoint.

As the curtain rose, I was instantly transported back to the Northampton factory floor, brought vividly to life through slick staging that was multi layered in depth and height (I was so impressed). From the first beat of the opening number “The Most Beautiful Thing,” it was clear this was going to be a high-energy, high-emotion performance. The set design was clever and efficient, transforming seamlessly between Price & Son’s shoe factory and the flashy world of Lola’s with the help of sharp lighting changes and clever stagecraft. The sound design, too, was spot-on, crisp, balanced, and punchy without ever overwhelming the vocals or dialogue.

All eyes, of course, were on Johannes Radebe. A household name thanks to Strictly, Johannes is no stranger to commanding a stage. I’ve seen him perform live on several occasions and even had the pleasure of interviewing him , his grace, charm, and humility are as notable offstage as they are on it. Watching him step into the glittering heels of Lola was genuinely thrilling and those outfits just WOW

From his first strut onto the stage in “Land of Lola,” Johannes was magnetic. He embodied the glamour, sass, and fierce self-assurance that defines the character, but also managed to convey Lola’s deep vulnerability, particularly in the heart-wrenching “I’m Not My Father’s Son.” The emotional depth he brought to that number was palpable, and the audience responded with a hushed reverence, followed by thunderous applause.

Vocally, Johannes impressed, perhaps even exceeded expectations. His tone was rich, and for the most part, he handled the demanding score with confidence and finesse. That said in one of the more delicate solos, there were allot of tuning issues but considering the emotional and physical demands of the role (those heels are no joke!), it’s easily forgiven. What truly mattered was the heart he brought to every lyric and every moment and that heart shone through in spades 👏

Opposite Johannes, Dan Partridge was outstanding as Charlie Price. It’s a tricky role, not flamboyant like Lola, more grounded, and prone to brooding, but Dan struck the right balance between vulnerability and strength. His vocals were rich and consistent throughout, and he brought a genuine emotional arc to Charlie’s journey from reluctant heir to bold risk-taker.

Then there was Courtney Bowman as Lauren. Wow. Just… wow. I’ve seen a lot of Laurens, and Courtney’s version was by far one of the most memorable. She brought electric energy, perfect comic timing, and a powerhouse vocal performance that brought the house down during “The History of Wrong Guys.” Her physicality, facial expressions, and command of the stage were utterly captivating. She stole every scene she was in and rightly so.

A huge shoutout must go to the Angels, Lola’s backup dancers and scene-stealers in their own right. The ensemble was diverse in every sense: age, body type, gender expression and it was glorious to see. They oozed charisma, confidence, and camaraderie, bringing the heat in numbers like “Sex Is in the Heel” and “Everybody Say Yeah.” Their chemistry with Johannes was sizzling, and their choreography was intricate, cheeky, tight and executed with exhilarating precision.

Choreographically, the show was a masterclass in storytelling through movement. The transitions were smooth, the group numbers full of energy and personality. Director and choreographer Jerry Mitchell’s original vision was honoured while still feeling fresh and current.

The lighting design played a key role in setting the tone for each scene — subtle blues and greys for Charlie’s conflicted inner world, flamboyant reds and pinks for Lola’s. Costumes, of course, were a riot of colour and shine, from work boots to six-inch heels, and every sequin in between. The iconic thigh-high red boots were met with a roar of approval, a moment that never fails to thrill.

Cyndi Lauper’s Tony-winning score remains the emotional and sonic heartbeat of Kinky Boots. From the catchy anthems to the tender ballads, every number hits a different note of human experience — hope, fear, defiance, acceptance. “Raise You Up/Just Be” closed the night with a jubilant bang, the entire audience on their feet, clapping along and cheering. It was a joyous reminder of the show’s central message: when we change our minds about people, we can change the world.

What struck me most, even as someone who knows this show inside out, was just how timely and necessary Kinky Boots still is. Its messages of acceptance, courage, found family, and embracing who you are remain as powerful today as they were when the musical first opened. In a world where LGBTQIA+ identities are still under attack in many places, seeing a drag queen celebrated as a hero on a mainstream stage feels not only affirming but essential.

Johannes Radebe’s Lola brought that message home in spades. There was a genuine emotional connection between performer and audience, something you can’t fake. As someone who’s worn Lola’s heels before, I know how heavy they can be, not just physically, but emotionally. And Johannes carried that weight with poise, passion, and pride. Bravo 👏

This production of Kinky Boots is everything a night at the theatre should be: entertaining, emotional, and empowering. Whether you’ve seen it before or are coming fresh to the factory, it’s a must-see event during its Belfast run.

Catch it at the Grand Opera House before it struts out this Saturday and trust me, bring your best heels and tissues.

Limited tickets are available via goh.co.uk or by calling the box office - 028 9024 1919