drag

Chill with another cool Indy Drag parody

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By John Lyle Belden

Do you want to see a gay man? / Though it’s more than being gay. /

The musical that you adore / Has become something more / In an Indy Drag way! /

So now they’re doing “Frozen” / And they made it hot! /

This could make you a big Drag fan, / And a Drag King plays the snowman.

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Indy Drag Theatre wraps up its fabulous 2025 season with “Frozen: A Drag Parody Musical” at The District Theatre.

Somehow, a fairy-tale story seems even more magical done in the style of Drag, with its exaggerated makeup, wigs, and outfits, and every actor accustomed to being a completely different person than one might see offstage. As this show is mostly lip-synched to audio of the movie and stage versions of the Disney tale, with appropriate costumes, this is a production for all ages (provided “drag queen story hour” doesn’t upset you).

This tale of royal siblings Elsa and Anna features* Lollypop Lyx and B.B. Rosè as their younger selves, with Natalie Port-Ma’am as Queen Elsa and Meadowlark Lane as Princess Anna.

The story doesn’t deviate from the familiar plot: After a childhood accident, Elsa isolates herself with efforts to control her icy weather-based powers. At her coronation, she gets upset at Anna for impulsively becoming engaged to Prince Hans of the Southern Isles (Taron Closeoff) and without meaning to, brings eternal winter to Arendelle. With Elsa hiding away in in the mountains of the Norway-esque kingdom, Anna seeks to reach her with the help of a helpful ice-seller, Kristoff (Jared Matthew), and his faithful reindeer Sven (Norah Borealis).

Popular local entertainer Maurice Mantini works his magic as the enchanted snowman, Olaf; he also plays the girls’ father, King Agnarr, with Gayle Thyme as Queen Iduna. The cast also features Cadence as Oaken, the “hygge” proprietor of the general store and sauna; Rodick as a rather nimble Duke of Weselton; Desiree ‘Denzel’ Bouvier and Ramon Flowers (aka Pricilla Vaggina) as Pabbie and Bulda of the Nordic “Hidden Folk;” as well as Canila Carpenter, Loralei Diamond, Faith Camire, and Cheri Walker-Owens.

For the performance we attended, Matthew had a prior commitment, so understudy Eli Rose nicely filled in as Kristoff.

The show was directed by Dottie B. Minerva and choreographer April Rosè. Sydnie Blair is stage manager. Imaginative sets were designed by Josh Morrow & Tony, with props by Ailish Forner. Giving the fabulous looks are Maria Fruit with costumes, Celeste Al’Dreams with makeup, and wigs by Oriana Peròn.

The company’s diva-level standards of performance are again maintained. Everyone gives their all, from Natalie’s triumph as the Ice Queen to Norah’s endearing deer. This not only showcases the visual spectacle of Drag culture, but also the compelling gestures and emoting that enraptured cinema fans in the silent-movie era.

Also, it’s so much fun.

Performances of this funky “Frozen” are Thursday through Sundy, Nov. 20-23, at The District Theatre, 627 Massachusetts Ave., Indianapolis. Get tickets at indydragtheatre.org.

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*(Note: Out of respect for the art form and its performers, they are identified by their Drag names as given in the show program.)

Wild Wilde comedy at Buck Creek

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By Earnest Bunbury John Lyle Belden

Buck Creek Players takes on a classic comedy tackling issues of identity within a strict society, “The Importance of Being Earnest,” which playwright Oscar Wilde cheekily called “A Trivial Comedy for Serious People.”

The subtext was hardly trivial for Wilde, with this well-received 1895 play coming out shortly before his infamous legal spat that had him imprisoned for homosexuality (a crime in Victorian Britain). For BCP, director Mel DeVito sought to enhance the comedy’s queerness with cross-gender casting.

Amanda McCabe said that when she auditioned, she had no idea she would become Jack “Earnest” Worthing. “I believe Wilde would have loved this,” she said after a performance. DeVito agrees, adding, “I just wanted to see Ben (Jones) in a dress” – which he is as haughty mistress of manners Lady Augusta Bracknell. Judy Lombardo plays both the servant parts, one as male and one female. Paige Scott, whose past roles include a trans character in “Hedwig,” portrays a rather distinguished clergyman, Dr. Chausable.

We open at the home of Algernon Moncrieff (Aaron Beal), where Earnest (McCabe) has come to woo his cousin, Gwendolen Fairfax (Brittany Magee). Our suitor wins her heart, but not her hand as Aunt Augusta, a/k/a Lady Bracknell (Jones), forbids their union, considering the young man’s rakish reputation and apparent low birth.

Mr. Worthing has two more complications: Gwendolen insists she will only marry a man named “Earnest,” and Algernon has found the proof that is not his name. As for the latter, cynically jovial Algernon finds it amusing that his friend also enjoys “Bunburying” – named for his habit of avoiding responsibilities by going to visit his non-existent “invalid friend” named Bunbury. Worthing says his double life lets him be serious “Jack” around his ward, the beautiful young heiress Cecily Cardew (Kielynn Tally), and “Earnest,” Jack’s younger more fun-loving brother, elsewhere.

The plot twists and thickens when Algernon goes to call on Cicely, introducing himself to governess Miss Prism (Tracy Herring) as Earnest. This thrills the girl, who always wanted to marry a man by that name.

As Lady Bracknell says later, coincidences are very unseemly. Wilde’s pen seemed not to care.

The casting and sharply delivered performances bring out all the fun and make the satire relatable, including obliviousness to hypocrisy, vice as virtue, and women’s thoughts in diary form being a sort of official record of social life. McCabe embodies Jack/Earnest with dashing charm and Chaplain-esque nimbleness. Magee and Tally both play wily and smart, especially when the young women have the upper hand over their “Earnests.” Beal plays Algernon as a smooth cad, yet ever likable.

Jones commands the stage, perfectly blending a stern Victorian matron and a no-nonsense drag persona. Lombardo speaks volumes with an eye roll. Herring gets moments to shine when her small role becomes more integral to the denouement. Scott is subtly wonderful, even while Chausible is perplexed but willing to re-christen adult men.

For a fun old “trivial comedy” as you’ve never seen it before, “The Importance of Being Earnest” has one more weekend, Friday through Sunday, Sept. 12-14, at the Buck Creek Playhouse, 11150 Southeastern Ave., Indianapolis (Acton Road exit off I-74). Get tickets and info at buckcreekplayers.com.

They-dunit! Indy Drag gets a ‘Clue’

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By John Lyle Belden

“Lip-synch for your life” takes on fresh meaning as Indy Drag Theatre brings us the camp cult classic featuring Tim Curry (no, not that one!) – “Clue” – the whodunit film that cast big Hollywood stars to make up for the fact that it’s based on a board game.

Director Vera Vanderwoude St. Clair* admitted being concerned at first in staging IDT’s first non-musical. But the cast and crew of this production slay! An ingenious set design by Miss Kay-Ottic lets us into all the various rooms from the game board and movie. Makeup design by Ciara Myst gives everyone a unified Agatha-Christie-nightmare look befitting both the drag mystique and gothic atmosphere. The killer costumes are by Anthony Sirk, with wigs by Hair By Blair. Choreography is by April Rosè.

Like all IDT parodies, the source material – mainly the 1985 film by Jonathan Lynn and John Landis – provides the audio and sound effects, with some surprise samples from other media thrown in for fun. The voices may sound familiar, like Martin Mull’s bluster or Madeline Kahn’s famously improvised “flames” monologue, but they take on new life neatly mimed by Indy-area performers.

Joe Wagner makes a brilliant IDT debut as Wadsworth, making the surly and sassy butler his own. The frantic “reenactments” toward the end(s) are hilariously fascinating. Fresh off her successful tour of different parts of Indianapolis, Madison Avenue charms as the maid, Yvette. Natalie Port-Ma’am is saucy as the Cook.

Our guests/suspects are Maria Fruit as Miss Scarlet, Brentlee Bich as Mrs. Peacock, St. Pussifer as Mrs. White, Maurice Mantini as Colonel Mustard, Freddie Fatale as Professor Plum, and Johnee Crash as Mr. Green – allegedly the only homosexual on the stage (go figure!). Finally, Dottie B. Minerva drops in and drops dead as Mr. Boddy.  We also encounter a mysterious motorist (Gayle Thyme), cop (Calyko Magick-Waffle), and singing telegram (Nicole Sherlock). And watch out for the aggressive “dog.”

The show follows the movie (a bizarre mystery set in the 1950s), of course, but there are plenty of over-the-top antics to enhance the lines you might know by heart. And yes, we do get all three solutions.

Performances of “Clue: A Drag Parody” are Thursday through Sunday, Aug. 7-10, at the District Theatre, 627 Massachusetts Ave., Indianapolis. Info and tickets at indydragtheatre.org.

*(Note: Out of respect for the art form and its performers, they are identified by their Drag names as given in the show program.)

‘Everybody’s Girl’ on Epilogue stage

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By John Lyle Belden

Going up Alabama Street to see Madison Avenue sounds confusing – especially if you know the layout of Indianapolis – but actually, it’s the direction to a fabulous show.

Magic Thread Cabaret (Klein and Alvarez Productions) presents drag artist Jim Melton as Ms. Madison Avenue in “Maddie: Everybody’s Girl” for two weekends at Epilogue Players theatre.

We attended and enjoyed her performance of this revue at the White Rabbit in Fountain Square in March. Portraying the hour before she takes the stage, we visit Maddie preparing with accompanist Dustin Klein (every dressing room has a piano, right?) and occasionally fussed over by Tina Brannum Mahern as Mimi the maid. Make no mistake, though, this is all about Maddie and “the mostly true story of my colorful life.”

We learn she is the hottest thing to come out of Bull’s Butt, Idaho, as she relates her struggles with show biz, life, and her inner diva, interspersed with showtunes and standards including the full (with intro) version of “Somewhere Over the Rainbow.” She is a bit vulnerable, quite funny, and all heart (but not “Roxy Hart,” she substitutes “Madison Avenue” in that lyric).  

Admitting to her stumbles and that at 26, “I’m still learning,” she also notes, “I’m the greatest star, but no one knows it” (from “Funny Girl”). This production is a step in the right direction.

Funny and fabulous, showing she can carry a tune and hold an audience, experience the glow of Madison Avenue, “Everybody’s Girl,” June 27-29 and July 5-6 at 1849 N. Alabama St. (corner of 19th and Alabama), Indianapolis. Get tickets at kleinandalvarez.com.

Omigod you guys(?) – Indy Drag goes to law school

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By John Lyle Belden

(Note: Out of respect for the art form and its performers, they are identified by their Drag names as given in the show program.)

Many of us are familiar with the 2001 film “Legally Blonde,” and perhaps with the 2007 stage musical, however for Indy Drag Theatre, it was a parody tribute to this fun comedy in 2022 that got the company rolling. Now, this clever melding of both movie and Broadway – acted, danced and neatly lip-synched by local Drag Queens and Kings – has returned to The District Theatre.

Also notable as an actor in conventional musicals, Parker Taylor makes a stunning transformation into Honey Bunn, who plays our blonde heroine, Elle Woods. To win back the love of her ex-boyfriend Warner (played by Cadence), she leaves UCLA to enter Harvard Law School. Needless to say, it won’t be easy for her but very funny and entertaining for us. In Boston, Elle gets help from teaching assistant Emmett (Eli Rose) and local beautician Paulette (Sydnie Blair), but no help from Vivienne (Kalinda), who is with Warner now.

Elle finally gets to prove herself as part of a team of interns for Professor Callahan (Kristen N. Peterson), who is defending a famous fitness expert Brooke Wyndham (Vera Vanderwoude St. Clair) charged with murder.

The cast includes Axel Brozie as classmate Enid, and AJ Thoma, Kitt St. Clair, and B.B. Rosè as Elle’s Delta Nu sisters Margot, Serena, and Pilar, who appear as her literal Greek Chorus. Sean Seager is dog-gone cute as anthropomorphic pooch Bruiser, as well as hot UPS man Kyle.

A tip of the wig also to Ilana a la Mode, Madison Avenue, Kami Kamora, RoDick Heffley, Josè Dos Santos, Ellen Vander Missen, DeLuLu De Vant, Justin Sheedy, Sophie Sweany, Tiffany Rae, and CiCi Pasion.

Directed by IDT co-founders Blair St. Clair and April Rosè (who choreographed), stage manager is Natalie Port-Ma’am, with costumes by Alish Forner, makeup by St. Pussifer, wigs by Hair By Blair and sturdy sets by Josh Vander Missen.

While the Queens usually get the attention in these shows, it takes all kinds to make the magic work, and I must note the stellar King performance by Peterson as conniving, cruel creep Callahan.

With its energy, flair, and embrace of all things pink and shiny, this musical meshes perfectly with the Drag Theatre format, providing a wonderful experience all around. Get “Legally Blonde(r)” this Thursday through Sunday, May 15-18, at the District Theatre, 627 Massachusetts Ave., Indianapolis. Get tickets at indydistricttheatre.org.

Footlite gets ‘Kinky’ in the best way

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By John Lyle Belden

With among its many lessons that you should be willing to pull together to try something wild with great potential, the all-volunteer cast and crew of Footlite Musicals present the fun and funny hit, “Kinky Boots.”

With book by Broadway legend Harvey Fierstein and songs by equally iconic Cyndi Lauper (making her the first woman to win a Tony for solo songwriting), the 2013 Broadway musical is adapted from the 2005 British film of the same name, in turn inspired by a true story from the 1990s. Set in that 20-ish year ago era in Northampton, England, a man who has inherited a failing shoe factory seeks to save it by filling an unmet need – sturdy but sexy boots for drag queens.

Charlie Price (Alexander Bast) had planned to move to London and take a lucrative marketing job alongside his fiancé Nicola (Nicole Sherlock) but is called back home when his father (Ted Jacobs) passes away. The shoes are well-made, but in a highly competitive market, nobody seems to want them. While seeking to strike a deal with a family friend (Derek Savick-Hesser) Charlie encounters Lola (Kevin Bell), the drag queen star of her own show. He notices her stilettos won’t hold up a man’s body and, after Price & Sons employee Lauren (Mara Fowler) – who secretly has a crush on him – suggests he find “an underserved niche market” to stay in business, gets the idea to make what will be known as Kinky Boots.

Reactions are mixed at the factory, though most buy in as the alternative is unemployment. Factory manager George (Ryan Bridges) is eager and creates a steel-reinforced heel. Foreman Don (Drew Kempin) considers himself a “man’s man” and openly mocks Lola, who is brought on board as designer. In three weeks, there will be a major fashion show in Milan that will make or break the enterprise, as well as the people involved.

We also meet, in the opening number, Charlie and Simon (who will become Lola) as boys, played by Sam Houghland and Ryan Thomas, respectively, as well as Simon’s disapproving father (Jerry Davis).  The cast includes Shari Jacobs, Awbrey Brosseit, Jessica Hackenberg, Logan Laflin, Louis Soria, Ruby Waliser, Jennifer Zotz, and Tom Zotz, who also cameos as Richard, Nicola’s boss.

Lola is backed by her cloud of fabulous Angels, performed by drag artists Conner Becker-Chamberlin, a/k/a Darcy Sparks; Leon Benbow-Blomberg / Miss Dominixxx; Caleb Francis / Penny Loafers; Cameron Grant / Anita Richard; Shawn Hunt / Artemis Da Goddess; Dalen Jordan / Donleigh Delights; Paige Penry / Bella DeBall; and Kenan Tinnin / Body Miss Morphia.

Joyfully directed by Jerry Beasley, we get a (much-needed these days) uplifting story of grit and acceptance. The characters are fairly complex – not just the obvious multitudes in Lola, brought out in glorious voice and expression by Bell. Bast gives us a Charlie who is well-meaning, sometimes off-base, yet easy to root for. Kempin’s Don is mostly bluster, a bloke who literally gets sense knocked into him. Sherlock plays Nicola as one who feels certain of her direction, coming to learn that Charlie doesn’t see success her way. Fowler makes her regular young woman Lauren, who goes from slinging shoes on a factory floor to being “executized” to help make the new line,   appropriately adorable.

Among the volunteers putting this spectacle together are set designers Ted Jacobs and Mary Lich, choreographer Thomas Mason, vocal director Ben Rose, and stage manager Melissa Yurechko. Costumer for the queens is Angel Olivera, assisted by Katie Van Den Heuvel and Michael Morrow. Jeremy Kaylor leads the orchestra.

EDITED TO ADD: Beasley messaged me this – “I would like to add that Claire Olvey Slaven also costumed The Angels as well as assistant directed, and Ben Jones created their hair and makeup look! The Price & Son workers costumes were designed by Edith Burton-Bandy.”

As a counter to current controversies, we get a reminder that for its community Drag is not just a lifestyle, but an essential part of life. Let the spirit of “Kinky Boots” raise you up, and remember: “You can change the world, when you change your mind.”

Performances are Thursdays through Sundays through May 18 at Footlite Musicals, 1847 N. Alabama St., Indianapolis. Get tickets (which have been selling fast) at footlite.org.

Drag ‘Sweeney’ so good it’s a crime

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By John Lyle Belden

(Note: Out of respect for the art form and its performers, they are identified by their Drag names as given in the show program.)

As we find today’s politicians embracing Victorian-style social mores, Indy Drag Theatre takes its own swipe at the 19th century with its Parody Musical production of “Sweeney Todd,” the penny dreadful-inspired Tony winner by Stephen Sondheim (book by Hugh Wheeler).

As in past Drag Parodies, this company employs appropriate yet over-the-top looks and attitude, while lip-synching to a blended audio track of Broadway and Hollywood (the 2007 Tim Burton film).

In wonderful form are performers Beelzebabe as the titular Demon Barber of Fleet Street; Heather Bea as Mrs. Lovett whose “worst pies in London” suddenly get a lot better; Madison Avenue as aptly melodramatic lost daughter Johanna; Johnee Crash as conniving enforcer Beadle Bamford; Natalie Port-Ma’am as faux-Italian huckster Adolfo Pirelli; Senator Gale Lagations as Tobias Ragg, the boy true to whoever feeds him; and Ilana a la Mode as the mad Beggar Woman. Also featured are Kelsey McDaniel as self-righteous and evil Judge Turpin and Parker Taylor (who could actually sing his parts and was even in a regular production of this musical) as noble lovestruck hero Anthony Hope. The ensemble includes Samoria Mie (who is also the Bird Seller), Abbey Lay, Freddie Fatale, Alicia Brooke, and Kristen N. Peterson (who also cameos as bedlam-keeper Jonas Fogg).

The plot is unchanged: Todd returns to London with a hunger for revenge, and in the process sets up his deadly barber shop to practice with his ultra-sharp razors until the he gets the Judge in his chair. Those dispatched in the process provide the necessary ingredient for partner Lovett’s pies. Meanwhile, Anthony has found Todd’s daughter Johanna locked away (by the Judge, of course) and conspires to free her. There’s also a lot of singing, you get the gist.

While this tale of “man devouring man” has always been served up with a dollop of social commentary, it’s never been done quite like this. Under the direction of Max McCreary, assisted by Kalinda, one point emphasized is that while murder, cannibalism, kidnapping, etc., are just fodder for musical comedy, the “crime” that has us all concerned now in 2025 is the legislative attacks on Drag. Audio cut-ins include the text and debate on anti-drag bills proposed in states nationwide. (The one in Indiana recently failed in committee, but language from “dead bills” can appear in other measures.) Posters on the walls point up how retrograde such attitudes are, connecting the Victorian drama to current events, making the unlikely choice of “Sweeney Todd” for this production strangely perfect.

Messaging aside, the show is spectacular and thoroughly entertaining, with boundless energy and sassy humor.  Kudos to choreographer April Rose, as well as to Alish Forner for costumes, Ciara Myst for makeup, and wigs by Hair By Blair.

If you are wondering about the Barber Chair, typically the silent star of the show – no drag queen is going to let herself be upstaged by furniture. The chair is plain, but the deaths are fabulous with flowing blood-ribbons. There is a nice barber seat in the VIP room, in case you want to upgrade your ticket.

For satire that cuts deep, make your appointment with “Sweeney Todd: A Drag Parody Musical,” Thursday at 7 p.m., Friday and Saturday at 8 p.m., and Saturday and Sunday at 2 p.m. at The District Theatre, 627 Massachusetts Ave., downtown Indianapolis. Get tickets at indydistricttheatre.org.

IBTC presents: Kurkendaal gets ‘Real’

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By Wendy Carson

This is one of four scheduled shows in the Black Solos Fest presented by Indianapolis Black Theatre Company, a program of The District Theatre. Performance information and tickets at indydistricttheatre.org.

This weekend, Les Kurkendaal brings an expanded version of his much-lauded work, “The Real Black Swann: Confessions of America’s First Drag Queen.” Since I was not able to see the previous stagings, I was excited to get a chance to see this more fleshed-out production and it did not disappoint.

Ever the engaging storyteller, Kurkendaal brings us an endearing tale to delight and educate us on our past and potential future. Told through reminiscences of a fever-dream he experienced during a biopsy on his leg (benign, he reassures us), he gives us the history of William Dorsey Swann, the first documented black drag queen and political activist. He also forces himself to revisit traumatic instances of prejudice he experienced in his life. As his coping method has been to shut himself up in a protective “Glinda Bubble,” Swann’s spirit makes him realize that he can no longer continue to do this.

Kurkendaal has been reworking and refining this show for the past few years, touring it internationally, and I feel that he has truly found his voice in it. The message – that nothing in the world is going to change until we all wake up and join together to support one another, and do whatever we can to fight those who try to oppress and oppose our brethren – is not new, but it’s vital to remember in our current political climate.

Our review of his performance of “Real Black Swann” during the 2022 IndyFringe festival is here. The narrative is largely unchanged, and it is an excellent look at the life of a man born into slavery, yet entering the turn of the 20th century on his own terms – and in a dress. It also reminds us that the gay underground in American cities goes a lot further back than most folks suspect.

As we post this, there is still a performance at 3 p.m. Sunday, Jan. 26, on the main stage of The District Theatre, 627 Mass. Ave., Indianapolis.

Drag Theatre lets its ‘Freak Flag Fly’

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By John Lyle Belden

(Note: Out of respect for the art form and its performers, they are identified by their Drag names as given in the show program.)

In the gay community, “fairy” stings as a pejorative, but Indy Drag Theatre celebrates Fairy Tales in style with its production of “Shrek” at the District Theatre. This parody/homage melds the Oscar-winning 2001 film with the Tony-winning 2008 musical (incorporating more elements of the 1990 children’s book) with bits of sassy attitude (RuPaul’s voice does pop in) appropriate to the milieu.

With all audio lip-synched the story is unchanged, so what sells the show are the non-stop visuals – costumes and props by Ailish Forner, makeup by Ciara Myst, wigs from Hair by Blair, with choreography by Kitt St. Clair, and directed by Maddie Deeken with Beelzebabe – and comic yet compelling performances by Miss Kay-Ottic as Shrek, DeLulu Devant as Donkey, and Luna Magick as Lord Farquaad. Princess Fiona is nicely portrayed by Kalinda, with Cici Pasion and Madison Avenue as her younger versions, and Axel Rosie as “love’s true form.” Natalie PortMan puts the drag in Dragon with her performance as the fire-breathing beauty. Our Shrek and Fiona have chemistry (and not just gastric), while Donkey and Farquaad are each major scene-stealers.

Also notable is Alicia Brooke as Pinocchio and Robin Hood. Various other creatures are embodied effectively by Eli Rose, Johnnee Crash, Brentlee Bich, Norah Borealis, Milo Xpat Tayshuns, Rodick Heffley, Freddie Fatale, Senator Gale Lagations, Ava Morningstar, Aqua Marie, and Gorge Bush.

While fun and familiar, this production is also a loud and proud celebration of our differences, and how together we can find in that freakiness a common bond.

Good news: This time we have the review up in time for you to see the show! Seats sell fast, so get tickets at indydistricttheatre.org for performances 7 p.m. Thursday, 8 p.m. Friday and Saturday, 2 p.m. Saturday and Sunday, Nov. 21-24 at 627 Massachusetts Ave., Indianapolis.

‘Boots’ a good fit for Civic

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By John Lyle Belden

The musical “Kinky Boots,” now on stage at the Booth Tarkington Civic Theatre, is a story both of its time and for today.

With book by gay Broadway legend Harvey Fierstein and songs by equally legendary Cyndi Lauper (making her the first woman to win a Tony for solo songwriting), the musical is adapted from the 2005 British film “Kinky Boots,” in turn inspired by a true story from the 1990s. Set in that 20-ish year ago era in Northampton, England, a man who has inherited a failing shoe factory seeks to save it by filling a niche market – sturdy but sexy boots for drag queens.

From today’s perspective, this venture looks like a typical business risk of reaching a niche market. In its context, it’s a cultural bombshell. In 1999, we’re getting used to seeing openly gay characters on TV; in 2005, we are still about five years from the repeal of “don’t ask, don’t tell” in the military, with gay marriage settled even later.

But this isn’t an artifact of a less-enlightened time. The plot delves into the world of Drag, a culture now under attack, as is gender fluidity and expression in general. “Kinky Boots” reminds us how much we have changed for the better, and how much we haven’t.

Jacob A. Butler plays Charlie Price, a young man who doesn’t want to spend his life making shoes, yet unsure of what he does want. While seeking a job in London with his fiancé Nicola (Braxton Hiser), he encounters club headliner Lola (Jonathan Studdard), who complains about the flimsy heels they have to wear. Meanwhile, as his father (Fernow McClure) has recently died, Charlie has to shut down the Price & Son factory and lay off employees who are like family to him. When one of the workers, Lauren (Kelsey McDaniel), suggests he look to fill an underserved market, inspiration strikes. With Lauren (who secretly has a crush on him) as his assistant, and Lola brought on as designer, Kinky Boots footwear is born.

Not all the workers are on board at first, especially “manly man” Don (Peter Scharbrough). Charlie also has difficulty with Nicola, who wants to sell the factory to convert the building into condos. His hopes rest on the new boots being a hit at a designer footwear show in Milan in just a few weeks – leaving him short on both time and budget.

The large cast includes Tommy McConnell and Ryan Thomas as Charlie and Lola as young boys, and Joshua Hyde as Lola’s father. Our queen is backed by a cloud of Angels, played fabulously by drag performers April Rosè, Justin Sheedy, Blair St. Clair, Vera Vanderwoude St. Clair, Parker Taylor, and Jason Wendt.

Studdard is incredible, bringing both power and vulnerability to the role of Lola. Butler plays Charlie like one on a crash course through the school of hard knocks, needing to learn fast for the sake of others besides himself. Among the lessons are that reliance on others goes both ways, as well as that drag is life, not just a lifestyle.

Scharborough is also notable, Don being a man who has sense literally knocked into him. McDaniel is both sweet and funny as Lauren, making her every-woman character one to root for.

This production is directed by Suzanne Fleenor, who hopes the show will raise both our spirits and our desire to stand for equal rights for all. Brent Marty is musical director; Deena Fogle is stage manager. Choreography is by Kasey Walker.

Fun, funny, and most of all, inspiring, “Kinky Boots” is about a lot more than shoes. Performances run through Oct. 19 at The Tarkington in The Center for the Performing Arts in downtown Carmel. For info and tickets, visit civictheatre.org or thecenterpresents.org.