And now… we cut to the obligatory dance sequence clumsily shoehorned in to showcase our highly-publicised Strictly headliner.

A permeating, inescapable blight on the current theatre landscape.

Ok, so that’s clearly hyperbole (not to mention needlessly cynical), but any regular theatregoer will attest that there’s certainly been no shortage of the pros of Auntie Beeb’s wildly successful dance competition tangoing or fox trotting their way into musical theatre productions.

And savvy producers know – if their Strictly prestige is going to help put bums in seats, the audience will be expecting to see plenty of that soft-shoeing to boot.

Birmingham strikes glitterball gold this week with not one, but two, major musicals landing in the City headlined by Strictly fan favourites. But what’s particularly striking is how Kinky Boots at the Hippodrome, much like Chicago at the neighbouring Alexandra, is not only not diminished by its ‘stunt’ casting, but notably elevated by it.

From the moment he makes his breathtaking, show-stopping entrance as fiery drag queen Lola, South African born Johannes Radebe crushes any doubts or concerns firmly beneath his impressive, glittering stiletto heel. Having witnessed even the likes of Billy Porter and Matt Henry in their award-winning takes on the role, nothing could prepare for the relentless whirlwind of wonder that Radebe unleashes in the role.

He’s let loose in the playground of Nikolai Foster, in this handsome and impressive Leicester Curve Production. Within Robert Jones’ wonderfully intricate and immersive Northampton shoe factory, and adorned with Jones’ resplendent frocks, this Boots dials its Kinky right up to eleven. Radebe’s opening tentpole, ‘Land of Lola’ is transformed, not least of all courtesy of some thrilling choreo from Leah Hill (which Radebe and his ‘angels’ naturally eat up) from a feisty drag cabaret number in former productions to a high-octane, tour-de-force musical theatre explosion.

It sets the standard for what is to follow, as Foster, Hill, Radebe and company serve up a revival that is about as audacious and electric as you could wish for.

For those unfamiliar, Kinky Boots tells the story of Charlie Price (Daniel Partridge) who inherits his late father’s shoe factory. With his new inheritance facing financial difficulties and impending closure, and not wanting to sling his staff out on the breadline, a chance encounter with the feisty Lola sees Charlie pivot production to a new niche. Namely – drag queens.

“This is full-throated musical theatre at its most dazzling.”

Whilst never the most groundbreaking or original of tales (its firmly from the Billy Elliot school of affirming Britcom), its overriding messages of acceptance and individuality remain as prescient as ever, and it is choc full of fun and loveable characters. Not least of all Lola, who remains an infectious, irrepressible creation. Foster and team lend a handful of quality of life finesses to Harvey Fierstein’s funny, witty book, mainly around some of the terminology bandied about, but along with Cyndi Lauper’s music, it all sings.

And Foster once again proves himself the master of the set piece. In addition to the aforementioned ‘Land of Lola’, the energy, sound and spectacle that he and Hill inject into the likes of ‘Sex Is In The Heel’ and fist-pumping curtain closer ‘Raise You Up/Just Be’ – including, yes, some truly stunning pit stops for Radebe to truly go to town with – is almost dizzying. This is full-throated musical theatre at its most dazzling.

The rest of the company are far from slouches, either. The dependable and exciting Dan Partridge is a perfect choice as the well-meaning but conflicted Charlie. As well as being in fine voice, he finds plenty of nuance in the quieter, reflective beats too, not to mention giving great frustration and anguish during a roaring ‘Soul of a Man’. Courtney Bowman regularly threatens to steal scenes as the sardonic yet lovestruck Lauren, belting some of the evening’s most impressive vocals, as Joe Caffrey, Kara Lily Hayworth and Liam Doyle all do great work in smaller, supporting turns.

Naturally, any moment Scott Paige is on stage is an opportunity to witness something fun, too, with the actor’s unassailable comedic instincts milking every ounce of hilarity and heartwarming kindness from his George.

If you absolutely had to pick at the seams of this Kinky Boots, then you could argue that sometimes it’s a big too big and brash for its own good, with the odd snippet of dialogue or plot lost in the busyness and loudness of it all. Similarly, whilst this particular reviewer will have no bad thing said about Radebe’s Lola, his smooth, soulful vocals don’t entirely lend themselves to a late-game power ballad. But it’s an empowering, gorgeous moment that Radebe completely sells, nonetheless.

But look, that’s picking at sequins.

‘Leave expectations at the door, just let your eyes explore…’ Lola sings in her opening bars. In the hands of Foster, Hill and Radebe, surrounded by the likes of Partridge, Bowman, Paige and other musical theatre excellence, in one of the best musical revivals in recent memory, it turns out to be not so much an invitation as an irresistible command.