KINKY BOOTS @ THE OPERA HOUSE

Broadway's Tony-winning hit parades into Boston with a high-spirited good time.

Based on a true story and movie of the same name, it is comforting to see that a friendship between a straight dude and a drag queen is becoming mainstream. This is due to the well-structured book and impressive set design, most notably in the fight sequence. The costumes and choreography are as bright and fun as a summer afternoon.

Lola is played with effortless confidence by Kyle Taylor Parker, and the handsome Steven Booth brings a sincere vulnerability to his character finding his own self-awareness.

Lindsay Nicole Chambers is the delightfully insecure Lauren who practically stops the show with her rendition of "The History of Wrong Guys."

Then we have the Tony- and Grammy-Award winning score by Cyndi Lauper, whose songs are refreshingly conservative but exuberant, balancing the show's effervescence. She can convey her messages effectively in one song rather than five of them and four reprises. Plus, she offers each character their own voice to their numbers. Charlie's songs cannot be sung by Lola, and his can not be sung by Lauren, and so on. Cyndi can raise the roof with "Sex Is In The Heel" but portray the pain behind the pumps in "Hold Me In Your Heart." The acoustic-driven "Take What You Got" is properly balanced by the piano-flavored "Not My Father's Son." She also has the ability to slip in some wordplay that almost goes unnoticed, such as "First Step" and "Soul of a Man." It is intended as a compliment to note that this is not a collection of Cyndi Lauper songs on stage. Cyndi has created an original Broadway Score.

The self-accepting message of the piece is clear but never feels redundant. It just is.

GO GO's GREATEST!

5. "Head Over Heels"

Back in 1984, the band announced that they would return with a harder sound. In today's terminology, they would be in danger of "jumping the shark," but the Go-Go's are smarter than that. They simply showcased what had been bubbling in them all along in this catchy, vibrant tune that was the lead single from their third release TALK SHOW. This song is definitely edgier, the guitars were razor-sharp, and it peaked at #11.

4. "Vacation"

The Go-Go's have never strayed from irony, and this first single from their sophomore album was proof. It has become an annual summer anthem, despite the fact it really has nothing to do with a traditional vacation. The "vacation" here is time away from a boyfriend. Set against a bouncy beat, Belinda Carlisle sings of regretting her decision, and this solid song peaked at #8 like its album.

3. "Our Lips Are Sealed"

As cliched as it sounds, here is the song that started it all. A perfect blend of pop and sass, the girls had announced their arrival. Writing their own material and playing their own instruments, they let us know that this girl band would not sing of broken hearts and waiting around for their handsome prince. They would be the ones doing the heart-breaking and would rock strong doing it. Belinda's vocals are perfectly feminine but with an edge. Although their debut single peaked at a humble #20, they still managed to kick down the door of the boys' club.

2. "Worlds Away"

Even though this overlooked gem is the antithesis of the band's hard-rocking exterior, we get a glimpse of what is underneath in this rare ballad. As the title suggests, this is a longing for a simpler, easier life which is more relevant now than ever. Instead of becoming a pity party, the girls keep their edge with concrete lyrics "slip into bed, the sheets are cold and smooth/my tension melts to a quiet warm." By the time the song reaches its crescendo, nothing is resolved, as in real life.

1. "We Got The Beat"

The second single from their debut album BEAUTY AND THE BEAT is less of a party song and more of an exclamation of their arrival. Peaking at #2, the song demonstrates the strengths of the band, including the complex guitar riffs, solid songwriting, Belinda's don't-mess-with-me Soprano, and Gina Shock, who can play the drums better than the best of them. The tune is rare in that it starts off strong but still manages to build until it reaches its delirious climax. Blended with an early 1980s pop and a 1960s sensibility, the girls prove that they still got it!

SATURDAY NIGHT FEVER @ NSMT

Director Richard Stafford understands that Saturday Night Fever is not a traditional book musical, and he knows how to balance the repressed daily lives of the characters with the dynamic dancing in the club.

His direction never hides the grit and turmoil of the era, making the contrasting disco moves that much more exuberant.

The entire ensemble is perfectly cast, especially  the smart and sexy Sam Wolf as Tony and the beautiful and clever Tessa Grady as Stephanie. Her accent never strays, even when singing!

Making a name for himself at the theatre, Nick Kenkel's choreography is nothing shy of dynamic. He recognizes that the dancers are there to both hide from their daily lives and to be noticed by everyone and anyone.

Haley Swindel as Candy, the singer in the club, has a gorgeous voice and legs to match. She is paired with Pat McRoberts with an equally impressive voice, and he is a fun DJ to watch.

The set is beautifully constructed, including the bridge that becomes another character - both significantly and symbolically - in the play.

When the lights come up on this incredible production, there is reason to dance!

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