Since her debut with "Girls Just Want to Have Fun," Cyndi Lauper has repeatedly proven that she is a genius musician. Her songs are catchy and memorable, with melodies that linger in the ear. When I attended "Kinky Boots" in 2015, it was already a Broadway phenomenon, widely talked about among theatergoers. With two free nights in New York City—one already reserved for "The Phantom of the Opera" with a colleague—I chose "Kinky Boots," expecting a brilliant show. What I received was far beyond my expectations.

The script was written by Harvey Fierstein, also known for "Newsies." With big names like Cyndi and Harvey involved, and the word “Tony” floating around in audience conversations, my expectations were high—and they were met with ease.

The show begins with young Charlie and Simon growing into adulthood, with Charlie dreaming of leaving the factory alongside his girlfriend. The soft opening transitions into a grim tone as he returns home, facing the challenge of saving his failing men’s shoe business. Just when the atmosphere seems heavy, the arrival of Lola—introduced with angels singing "Land of Lola"—instantly electrifies the stage. From that moment, the show’s rhythm takes hold. The clever script, lively plot, and inventive staging shine, and the concept of finding a niche market in stilettos for drag queens is a stroke of storytelling brilliance.

Charlie’s numbers, "Step One" and "The Soul of a Man," carry emotional weight, while Lola’s "Hold Me in Your Heart" is a powerhouse moment. Lauren’s hilarious lament, "The History of Wrong Guys," became one of the highlights for me; her voice had a tone reminiscent of Cyndi Lauper’s own style. Interestingly, in the movie version Natalie McQueen also channels a Cyndi-like sound, and in the Korean licensed production, Kim Hwan-hee slightly adjusted her voice to achieve a similar effect. The comic details woven throughout the show made it consistently fun and engaging.

Although the story centers on Charlie and his company, the heart and star power of the production belong to Lola. Billy Porter, who originated the role, was performing that night, and I was fortunate to see him. His songs were written with tremendous strength, and he delivered them with matching power. While his vocals projected a strong male resonance, his movements on stage were fluidly and dazzlingly feminine—an unforgettable contrast.

The final scene at the Milan shoe exhibition brought the house to its feet. What an electrifying finale, stamped all over with Cyndi Lauper’s signature style! I couldn’t catch every lyric, but many in the audience around me were chanting, "uh uh uh ... let me raise you up," all the way to the end.

Over the years, my memories of "Kinky Boots" have blended with later experiences: the Korean licensed productions that return almost every two years and the musical film adaptation I have watched many times. Sometimes these versions overlap in my mind—Lauren’s voice still reminds me of Cyndi Lauper’s, whether on stage or screen, and certain moments replay with the vividness of both live theater and film. Yet that night on Broadway remains distinct, glowing with the energy only a live audience can create.

The day after seeing the show, I attended a business meeting and later went to a nearby bar. One of my companions, a Korean colleague, turned out to be a big Cyndi Lauper fan. As we talked about her songs, the bartender—who likely didn’t understand Korean—must have caught the repeated mentions of Cyndi Lauper in our conversation and chose to play "True Colors" for us. I looked at him with gratitude, and he smiled back. It was a small, perfect moment—another day of Cyndi Lauper’s magic in New York.