This was my first time seeing a musical in the West End. I arrived from France early that morning, left my luggage at the hotel, had brunch to pass the time, and then headed to the matinee. I had arranged my schedule this tightly because it happened to be the final day of this production.

Without looking up much information beforehand, I assumed it would be similar to the versions I had seen before. That assumption disappeared the moment the curtain rose. A giant Kinky Boots sign dominated the stage, and before the show began, the extended stage platform projecting toward the audience on the right was outlined with glowing yellow LED lights. I even told my companion that the stage probably extended in that direction because the factory production line was located there. By the end of the performance, however, I realized that my guess had been completely wrong.

By pure coincidence, I ended up seeing the final matinee of this revival. The London Coliseum run had opened in March 2026 and concluded after a 17-week engagement, with the evening performance that day serving as the final show before Swan Lake moved into the theatre. Having previously seen the original Broadway production, the Korean production, and the filmed version starring Killian Donnelly, I was surprised by how extensively Nikolai Foster's revival (Artistic Director of Leicester Curve) had reimagined the staging. Many familiar scenes had been reworked, making the production feel fresh without losing the spirit of the original.

The most striking change was the set design. The original conveyor-belt factory disappeared, replaced by a minimalist stage framed by large red LED structures. Charlie's office and his London flat became permanent second-level sets at the rear of the stage, while the factory restroom—where Simon hides—was placed beneath them. The Northampton factory itself was suggested simply through entrances from the rear left of the stage, and the production line was eliminated altogether. Instead, one of the most memorable transitions came when the workers' tables were seamlessly transformed into the Milan fashion runway.

Props were significantly reduced throughout the production, but once Lola joined the boot-making process, long rolls of bright red leather appeared beneath every worktable. Red became the dominant visual language of the revival. The Angels wore entirely red costumes during Land of Lola, and even the outfit used for Lola's performance at the nursing home changed from the familiar white dress to a vivid red costume. Early in the show, the LED frame even created a digital zoom-out effect that visually expanded the stage, reminding me of the stage language increasingly seen in recent productions such as Maybe Happy Ending.

The production also handled symbolism differently. In earlier productions, Lola's decision to become the factory's designer was represented by attaching a boot-shaped panel to the Price & Son factory sign. That moment disappeared in this revival. Instead, a large neon boot descended from above during the Milan fashion show, replacing the original visual symbol. Likewise, the conversation between Don and Simon (Lola) after their boxing match took place on the bare front of the stage without additional scenery or props. Throughout the production, it became clear that this revival preferred lighting, movement, and choreography over elaborate physical sets to tell its story.

The opening sequence retained its familiar structure, featuring the factory exterior, young Charlie, young Lola, and their respective fathers. However, the younger versions of Charlie and Lola appeared far more frequently than before. Whenever the adult characters faced moments of emotional conflict, their younger selves reappeared onstage, creating a visual dialogue between childhood and adulthood. The effect was particularly powerful during I'm Not My Father's Son.

The musical numbers themselves seemed largely unchanged. For example, Lauren now accompanied Charlie when he approached Lola about designing stilettos, altering the staging while leaving the song itself as Charlie's solo. The dialogue, however, had been revised considerably. Gender-sensitive language had been naturally updated, explanatory dialogue was trimmed, and Johannes Radebe's South African accent blended surprisingly well with the regional British accents of the other characters, giving the production its own distinctive tone.

The cast featured Johannes Radebe (Strictly Come Dancing) as Lola, Matt Cardle (The X Factor winner) as Charlie Price, with Courtney Bowman as Lauren, Billy Roberts as Don, Richard J Hunt as George, and Billie-Kay as Nicola.

Matt Cardle's voice was warm and mellow, sounding just as natural as a pop vocalist as it did in a musical. His upper register remained remarkably stable, and in Soul of a Man he gradually built the emotion until it broke into a raw, tearful edge. At times it felt less like watching a musical than attending a pop concert. Knowing that Cardle began as a rock and pop singer who expanded his vocal range through formal vocal training made his interpretation feel entirely convincing.

Johannes Radebe was equally impressive, both vocally and as a dancer. His background in ballroom and Latin dance was fully reflected in the choreography, adding elegance and confidence to every movement. When the elaborate makeup disappeared, he revealed a completely different presence onstage—one that was strikingly beautiful.

Courtney Bowman also left a strong impression. Rather than the more eccentric, Cyndi Lauper-inspired interpretation often seen in previous productions, her Lauren was driven by a brighter, more open vocal style. The History of Wrong Guys naturally drew enthusiastic applause from the audience. Although the production-line blower that traditionally sent her hair flying was gone with the redesigned set, familiar comic moments such as her exaggerated underarm fanning were thankfully preserved.

Don and George were memorable as well. Don evolved beyond a simple antagonist, becoming one of the characters who ultimately held the factory together in the second half of the show. His dance-off with Lola was far more entertaining than I had expected, and his appearance during the Milan fashion show—with a short blonde wig and a rock-inspired vocal style—completely transformed the atmosphere.

George also made the most of his relatively small role. One particularly amusing moment came early in the factory scenes, when he stretched a single low note while trying to persuade Charlie. Charlie failed to understand him and asked him to repeat it, prompting George to hold the note even longer, earning one of the biggest laughs and rounds of applause from the audience. Though never a major character, he consistently made his presence felt.

Lola's performance at the nursing home resonated with me in a very different way in this revival. After finishing the song, Lola turned to the audience and said, "Thank you for attending my performance. You are not a usual audience, and I am not a usual singer," fully enjoying the applause and cheers before her father was finally wheeled onto the stage. "Hello Daddy, I love you, goodbye Daddy." had always been one of the moments that left me wondering in previous productions. If his father was truly approaching the end of his life, shouldn't Lola have visited him much sooner? In this production, however, his father never reached out or reacted in any way. That absence made the farewell feel less like an actual conversation and more like the goodbye Lola had long been preparing in his own heart.

When Charlie lashed out at Lola, it was difficult to forgive him in that moment. Yet later, during the phone call, he sincerely apologized, saying that neither the business nor the boots mattered anymore, before leaving Lola with a single sentence: "You are the best man I know." After hearing those words, I found myself able to forgive Charlie as well.

One of the strongest moments in the script came near the end of the show. The most interesting character ultimately turned out to be Don. By learning to understand Lola, he eventually came to accept Charlie, and that change became one of the key moments that saved the factory. In the end, the musical felt not only like a story about accepting Lola, but also about rediscovering and accepting Charlie. Seeing the production during Pride Week made that message feel especially meaningful.

The finale was unmistakably Harvey Fierstein. The entire company returned to the stage for an exuberant closing number that was every bit as exhilarating as the curtain calls of Newsies or Hairspray, and by the time Raise You Up began, I found myself singing along.

The sound design was somewhat disappointing from where I was sitting, especially when compared with the remarkably clear sound in Les Misérables, which I saw later that evening. However, I was seated in the third balcony, so the acoustics may well have been influenced by my location.

This revival was far more than a redesigned production. Many scenes were boldly condensed or reimagined, yet the core message emerged even more clearly. While society has undoubtedly changed since the original production premiered, this revival does not simply modernize the show. Instead, it reinterprets familiar scenes in ways that speak more naturally to today's audiences.

The redesigned staging was certainly fascinating, but the performances ultimately became the greatest reward. Matt Cardle brought a fresh interpretation to Charlie through his warm pop-inflected vocals, while Johannes Radebe's extraordinary dancing and commanding stage presence made Lola unforgettable. Together with Lauren, Don, George, the Angels, and the entire ensemble, they brought this revival to a memorable close on its final day.