‘Kinky Boots’ kicks up its heels in high-spirited style

The cast of Tony-winning Broadway musical "Kinky Boots" performs inside Reynolds Hall at The Smith Center, 351 Symphony Park Avenue on Saturday Sept. 6, 2014. The show which launched its national tour will be running through Sept. 14. (Martin S. Fuentes/Las Vegas Review-Journal)

Lola (Kyle Taylor Parker), left, Charlie (Steven Booth) and their co-workers celebrate a fading shoe factory's first pair of "Kinky Boots" in the Tony-winning musical, which launches its national tour at The Smith Center's Reynolds Hall through Sunday. (Martin S. Fuentes/Las Vegas Review-Journal)

Heart. And sole. And sky-high stiletto heels.

Amazing what the right pair of “Kinky Boots” can do.

The Tony-winning musical — kicking off its yearlong national tour through Sunday at The Smith Center — struts its stuff with irresistible, pump-you-up energy.

In the process, “Kinky Boots” also demonstrates that a show cobbled together from the most familiar elements can display exemplary craftsmanship.

Alas, it’s not quite artistry; the show seems a bit too machine-tooled and eager to please for that.

But it certainly makes for a rollicking good time, making “Kinky Boots” one crowd-pleaser that — for a change — earns the audience’s cheers, rather than simply assuming it’s entitled to them.

For that, thank composer Cyndi Lauper (a Broadway newbie) and director-choreographer Jerry Mitchell (whose credits range from Broadway’s “La Cage aux Folles” to Planet Hollywood’s “Peepshow”), both of whom won well-deserved Tony Awards for “Kinky Boots.”

Together (with more than a little help from their cast and colleagues), they deliver a series of mostly knockout numbers that do precisely what they’re supposed to do: move the story along and, at the same time, explore the show’s characters through song and dance.

Even if we’ve seen (and heard) what they’re singing and dancing about before.

“Kinky Boots” may be based on fact — or at least a fact-based 2005 movie — but its tale of down-at-heel British workers echoes “Billy Elliot’s” storyline. (To cite one screen-to-stage adaptation that has played Las Vegas; the musical version of “The Full Monty” hit stages before The Smith Center’s debut.)

As for the sassy, brassy outsider who transforms everyone’s lives, imparting from-the-heart lessons about love and acceptance — well, we’ve seen that one in multiple movie-to-musical revamps, from “Sister Act” to “La Cage aux Folles.”

Like “La Cage’s” stage incarnation, “Kinky Boots” features a book by Harvey Fierstein (inspired by Geoff Deane and Tim Firth’s screenplay), whose penchant for shameless, in-your-face platitudes occasionally threatens to trip up “Kinky Boots.”

Until, happily, another musical number kicks in, rescuing the show from heavy-handed — make that heavy-footed — sermonizing.

Which seems entirely appropriate, considering that “Kinky Boots” is all about rescuing people — others and, ultimately, yourself. Not that either of the show’s protagonists would admit it, at least not at first.

All Charlie (an adorkably earnest Steven Booth) wants to do is avoid following in his father’s footsteps, which means running away from the family shoe factory — until circumstances force him to step up to the grim reality that the factory’s on its last legs. Unless, of course, he can figure out how to make footwear someone will buy.

Enter the fabulously flamboyant Lola (outwardly cheeky, inwardly tender Kyle Taylor Parker), a drag queen who wishes someone would make some fabulous, thigh-high footwear — preferably in red leather — designed for men who dress like women.

Mitchell moves the story along with smooth, almost cinematic fluidity, nimbly sidestepping p(l)otholes as his cast members caper about David Rockwell’s flexible set, which morphs from shoe factory to nightclub — and beyond.

And, speaking of morphing, Gregg Barnes’ fanciful costumes (especially those eye-popping boots) capture not only outrageous dazzle but the workaday reality behind it.

So do the show’s dynamic cast members, a refreshing reflection of real-world types (and shapes), from loudmouth Don (blustery Joe Coots) to lovelorn Lauren (a wryly endearing Lindsay Nichole Chambers).

And, most of all, Charlie and Lola, outward opposites who turn out to be soul brothers, linked by the sequined sparkle of seemingly impossible dreams coming true.

If that’s not a formula for a happily-ever-after musical, I don’t know what is. And “Kinky Boots” provides a welcome reminder that it can be done — and in spirited high style to boot.

Contact Carol Cling at ccling@reviewjournal.com or 702-383-0272.