ADRIAN — “Accept someone for who they are.” 

That line from “Kinky Boots,” the musical that’s now onstage at the Croswell Opera House about a failing English shoe factory and how a drag queen comes to its rescue, pretty much sums up the show’s entire message. 

I have to admit that I never would have thought I’d see this show on the Croswell’s stage. And, let’s face it, the subject matter sure won’t appeal to everyone, besides the fact that it’s definitely a show for mature audiences. 

But if the very enthusiastic reception the production got on opening night from a pretty packed house is any indication, it’s a show that a lot of people DO like or, if they’ve never seen it elsewhere, are at least willing to take a chance on. 

“Kinky Boots” — and I’m speaking generally here, not specifically about the Croswell’s production of it — is a really good but not great musical, by which I mean in terms of its score and general structure. You can certainly hear Cyndi Lauper’s musical style in the numbers, which are certainly tuneful and have lots of clever lyrics, and a few of the songs are quite strong. 

For all the rousing quality of the production numbers, and they’re a lot of fun, the real power of Lauper’s music comes in tunes like Lola’s “Hold Me In Your Heart” and “I’m Not My Father’s Son,” the duet between Lola and Charlie. 

That song is one of the best parts of the whole show from a plot standpoint. But it also points to one of the flaws I think exists in at least this newer version of “Kinky Boots”: there’s only the briefest of looks into Lola’s and Charlie’s respective backstories, and one could definitely wish for at least a little more development of that to show why the characters are the way they are when we see them in the “present day” of the story. 

Having said all that, the Croswell’s rendition of the show is, on the whole, exceptional. 

Of course, the success of any production of “Kinky Boots” rides on the shoulders of the person playing Lola, and director/choreographer Debra Calabrese absolutely couldn’t have asked for better in Leonard Harris. 

Harris is simply — and I use this adjective completely on purpose — fabulous in this part, playing Lola with all the glitz and litheness the role demands. When Lola is strutting around in full drag-queen mode, she commands the stage and you can’t take your eyes off her. And when the deep woundedness that’s under Lola's veneer is called forth, Harris can plumb that just as easily and believably. Lola is far from a one-dimensional character, and Harris turns in a performance that’s at once over-the-top and subtly nuanced. Besides that, he has more than enough vocal ability for the part. 

Lola’s counterpart in the “I’m Not My Father’s Son” department, Charlie, is played by Croswell veteran Dan Clair, and he’s also excellent, with a singing voice that works really well for this pop-heavy score and a strong stage presence. 

Lola and Charlie, two polar opposites, find out in the course of the story that they are far more alike than they are different, and Harris and Clair work so smoothly together that it becomes a really great representation of the partnership, and the friendship, that results between their two characters. 

When it comes to Lola’s “Angels,” the drag queens who are part of her act, well, just, wow. 

Jarrod Alexander, Mikey Del Vecchio, Domonique Glover and Skye Rodriguez play that foursome, and they’re spectacular. The first three out of those four are actors whose names will be familiar to regular Croswell patrons, but you sure won’t recognize them in this show. In fact, I know that more than one member of the opening-night audience looked at their program at intermission to make sure they were all men, because they’re so completely believable in drag and they are, hands-down, fantastic. 

The rest of the cast does very fine work in their own right, especially the ones in the more major supporting roles: Thomas Koch II as Don, Dara Pardon as Lauren, Lauren Goyer as Nicola, and Ron Baumanis as George. And the factory workers as a unit both sound and look great. 

More:'Kinky Boots' at Croswell Opera House not just about drag queens

Calabrese, who as noted does double-duty as both director and choreographer, has staged this show tremendously well along with putting together such a top-notch cast. Music director Adam Miller and the orchestra do a great job with a score that varies from big production numbers to power ballads to, even, a little tango music. Tallie Carter, as costume designer, has created some really fabulous (there’s that word again) ensembles for Lola and the Angels. 

And scenic designer Doug Miller, of course, does his usual first-rate work, creating a set that’s properly industrial-looking and utilitarian in purpose too. 

On opening night at least, the production did seem to take a little time to pick up speed, and the early scenes don’t transition especially seamlessly anyway which doesn’t help things. And early on there was some wonky lighting going on. 

But (never mind the unfortunate fire alarm triggered on opening night by the use of stage smoke — on the other hand, since it came during Lola and the Angels’ nightclub act, the resulting flashing lights in the house almost looked like they could be part of the act) once the action really gets going, “Kinky Boots” is high-energy, spectacularly acted and staged, and just plain fun. 

It does have to be said that, the show being set in England, everyone of course has to have an accent which for most of the characters would be that of a working-class Brit. And it’s not always easy to make out what they’re saying, which needs to be improved because some of the best (and funniest) lines get completely lost. It’s also true that if you’re not especially up on your British slang, you won’t get some of the material, like the joke Lola makes using the slang word for cigarettes. 

But that issue aside, “Kinky Boots” at the Croswell is an outstanding rendition of a show that’s energetic, heartwarming, funny, and even inspirational, with a core message of acceptance despite one’s differences that’s crucially important in this day and age. 

WHERE: Croswell Opera House, 129 E. Maumee St., Adrian  

WHEN: 2:30 p.m. today; 7:30 p.m. Thursday, Sept. 22; 7:30 p.m. Friday, Sept. 23; 2:30 and 7:30 p.m. Saturday, Sept. 24; 2:30 p.m. Sunday, Sept. 25  

TICKETS: $20-$40 adults, $15-$25 students  

HOW TO ORDER: Online at croswell.org or by calling 517-264-7469  

NOTE: Recommended for adults and older teens only (strong language, sexual subject matter)