Kinky BootsOffizielle neue deutsche Übersetzung
im Auftrag von Musik und Bühne 2020 |
Robin Kulisch.
Kinky Boots |
Musical
von Cyndi Lauper und Harvey Fierstein (2013) Offizielle neue deutsche Übersetzung im Auftrag von Musik und Bühne 2020 |
Offizielle neue deutsche Übersetzung des Musicals von Cyndi Lauper und Harvey Fierstein, basierend auf dem gleichnamigen Spielfilm von 2005
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Über das
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Buch
Harvey Fierstein Musik & Liedtexte Cyndi Lauper Broadway-Premiere 04. April 2013 Al Hirschfeld Theatre New York |
"Kinky Boots" gewann mit fröhlicher Musik von Cyndi Lauper und dem vergnüglichen Buch von Harvey Fierstein nach seiner Broadway-Premiere 2013 sechs Tony Awards, u.a. als „Best Musical“. Aufgeführt wurde das Musical am Broadway sagenhafte 2.500 Mal. Die Erfolgsserie setzte sich 2016 in London mit drei Oliver Awards und einer Spielzeit von über drei Jahren fort. In Hamburg wurde "Kinky Boots" 2017/18 knapp 350 Mal gespielt.
Im Mittelpunkt der Erzählung steht der junge Charlie Price, der eher wider Willen und entgegen seiner Lebensplanung die Schuhfabrik seines Vaters vor der Pleite retten muss. Die entscheidende Inspiration kommt ausgerechnet von Lola, einem Londoner Entertainer, der für seine Bühnenarbeit als Dragqueen auf der Suche nach passenden (und strapazierfähigen) Stilettos ist. Bei dem Versuch, die traditionell eingestellte Fabrik und ihre Arbeiter*innen zu neuen Ufern zu führen, entdecken Charlie und Lola überraschende Gemeinsamkeiten und überzeugen schließlich auch die Belegschaft davon, dass man nicht nur seine Meinung über einen Menschen, sondern auch die ganze Welt verändern kann. "Kinky Boots" erzählt eine ebenso kraftvolle wie berührende Geschichte und bietet Gelegenheit zu spektakulärer Choreographie in märchenhaften Kostümen, ohne jemals die deutlich weniger glamouröse Wirklichkeit aus den Augen zu verlieren. Text Musik und Bühne |
Songs |
Musikalische Nummern
1. Akt |
Price & Son Theme
The Most Beautiful Thing In The World Take What You Got The Land Of Lola The Land Of Lola (Reprise) Step One Sex Is In The Heel Price & Son Theme (Reprise) The History Of Wrong Guys Not My Father’s Son Everybody Say Yeah |
2. Akt
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Entr’acte / Price & Son Theme (Reprise)
What A Woman Wants In This Corner Charlie’s Sad Soliloquy Soul Of A Man Sex Is In The Heel (Reprise) Hold Me In Your Heart The History Of Wrong Guys (Reprise) Raise You Up / Just Be |
Presse-stimmen |
Ben Brantley,
The New York Times 14. November 2013 |
"Cyndi Lauper knows how to work a crowd. Making her Broadway debut as a composer with 'Kinky Boots,' the new musical that opened on Thursday night at the Al Hirschfeld Theater, this storied singer has created a love- and heat-seeking score that performs like a pop star on Ecstasy. Try to resist if you must. But for at least the first act of this tale of lost souls in the shoe business, you might as well just give it up to the audience-hugging charisma of her songs.
'Kinky Boots,' with a book by Harvey Fierstein and directed by Jerry Mitchell, is a reminder that you don't always have to be a masochist to enjoy being smashed by a steamroller [...] Unlike her more commercially savvy coeval Madonna, Ms. Lauper has held on to the same goofy image throughout her career, and, equally unlike Madonna, she has always seemed to sing from the heart. That sincerity comes through in 'Kinky Boots' [...] The leading players here - notably Stark Sands, Billy Porter and Annaleigh Ashford - pick up on the trademark Lauper mix of sentimentality and eccentricity, but each makes it his or her own. Under Mr. Mitchell's precise and affectionate direction, they do what you want performers in musicals to do: they define specific characters by the way they sing and move. [...] The production reaches its high point in two late first-act numbers, in which shoe folk meet show folk. (David Rockwell is the designer of the charming storybook set.) Lola and her Angels give Charlie and company a lesson in aesthetics, via a song with brisk and nifty lyrics called 'Sex Is in the Heel.' It’s the mounting pulse of Ms. Lauper’s music and Mr. Mitchell’s wittily illustrative choreography that sends the number soaring. Then the production improbably tops itself with a first-act closer that makes inspired use of an assembly-line belt and introduces the title characters. Yes, I mean the boots (and how could I not have mentioned the costume designer, Gregg Barnes?), which are big red scene stealers. That we keep our eyes on the cast has to do with the care that has been taken to give each ensemble member a specific identity. (And how great to have a chorus line with such an assortment of body types.) The show recovers its first-act zip and zeal with its finale, 'Raise You Up/Just Be,' one of the best curtain numbers since 'You Can’t Stop the Beat' sent 'Hairspray' audiences dancing out of the theater." |
Presse-stimmen |
Michael Billington
The Guardian 15. September 2015 |
"Jerry Mitchell's direction and choreography, in particular, give the show a physical dynamism that offsets the story's feelgood factor [...]
It also helps that, as Charlie, Killian Donnelly [...] succeeds in making ordinariness interesting [...] The show is ultimately powered by Matt Henry as Lola [...] He makes you feel Lola takes pride in his profession [...] A finalist in BBC's The Voice, Henry also sings up a storm [...] You could make a case against the musical as a piece of preachy uplift about sexual tolerance. But it won me over through the quality of the lead performances, the verve of its staging and its conviction, in its fetishistic worship of thigh-high boots, that there's no business like shoe business." |
David Rooney
The Hollywood Reporter 04. April 2013 |
"Who doesn't love Cyndi Lauper? A proudly idiosyncratic pop priestess since the early '80s, she's always been way more real than her contemporary, Madonna, let alone such 21st century descendants as Lady Gaga and Nicki Minaj. Rocking the thrift-store chic and subjecting her hair to chemical torture, Lauper has made a career out of celebrating her extravagant individuality and everybody else's with the unpretentious chutzpah of a true-blue Queens girl. The fact that her infectious spirit shines through every number in her first Broadway musical score is unquestionably the chief asset of 'Kinky Boots', helping to elevate the show above its familiar template.
The novice composer-lyricist is also a good match for Harvey Fierstein, whose warm-hearted book for this aggressively uplifting musical hews close to the 2005 Miramax movie, making smart choices when it does diverge." |