In a modern landscape rife with political division, and a continued distaste for those living for themselves, “Kinky Boots” resurfaces right on time.

The Lehigh Valley premiere of the Tony Award-winning musical comedy “Kinky Boots” continues through Aug. 6 at The Pennsylvania Playhouse, Bethlehem. The opening night July 21 performance was seen for this review

Originally performed on Broadway in 2013, and revived a number of times thereafter, this compelling drag queen concoction still has a lot to say about acceptance, interweaving of complicated sexuality, and the art of being human. Humanity, and its eccentricity, is really the heartbeat of this necessary adaptation.

Pennsylvania Playhouse production Director Clair M. Freeman, as evidenced by his mystically-crafted direction and poignant note, seems to understand the gravity of unpacking the human element beyond a thinly-presented plotline. Between the director’s acknowledgement, masterful performances and the idea of “tubular sex” coming to life, The Pennsylvania Playhouse revived some imperative optimism amidst a seemingly crumbling world.

Packaged in a straightforward and familiar staging, “Kinky Boots” tells the story of an unlikely duo working together to save a failing shoe factory. A perfectly-ordinary Charlie Price (Joemichael Luciano Zaragoza), an heir to the family shoe business, is one half of this magnetic twosome. On the other end, self-confident as ever, stands an unapologetic Lola (Andrew Stewart).

With great sensitivity, and a firm presentation of Queer hardships, Stewart steals the show as a loud, albeit beautifully tender, drag queen. Lola, even as her alter ego, Simon, is more than just a drag queen.

The show itself is more than just a Cyndi Lauper and Harvey Fierstein lovechild, even. More than red stilettos, as amazing as they may be, more than pop-driven melodies soaring, and more than a strong collective of performers, navigating Queer identity is really at the root of this neatly-polished extravaganza of glamor.

The audience’s job, then, is to not just enjoy this display of Queer joy. But, rather, challenge themselves to ask why this kind of story even needed to be told in the first place. Charlie Price, as delicate as he may become by the end, is a mirror to the contemporary state of affairs that is hard to ignore. Lola, then, is the bold counter.

We first encounter Lola’s boldness in a striking rendition of “Land of Lola,” populated with a group of backup Angels (Andrew Galindez, Joseph Mowad, Nate Rosario, Evan Heger). Reminiscent of an episode of TV’s “RuPaul’s Drag Race,” today’s “Kinky Boots,” this particular collective brought down the house with every number at Pennsylvania Playhouse. Stewart’s powerhouse vocals engraved a mainstay throughout the show; the Angels followed shortly behind with appealing, and eye-popping, electricity.

“Land of Lola,” along with a few other ensemble-driven pieces, are a clear testament to Jonathan Cruz’s stellar, and clearly inspired, choreography. As the show carried along, the vocal prowess and acrobatic showcasing became nearly unbelievable. The notes coming out of some of these humans were as high as the show’s titular red-boot heel. It should be aptly noted that Sebastian Paff, in his first outing as music director, did his homework and cared about the audience’s auditory experience.

On the subject of vocal flare, the show presents no shortage of pitch-perfect renditions. For as plain as Charlie’s earnest character may appear, Zaragoza attacks every song with a certain gravitas. Whether in his opening duet with a memorable Harry (Asher Cooper), or in his stratospheric take on “Soul of a Man,” he provides unmatched in vocal tenacity. It is easy to forget a character like Charlie Price, or to start to feel a haunting resentment towards his dated ideologies, but Zaragoza breathes new life into an otherwise stationary character.

Stewart, building upon the talent already displayed throughout act one, really found their stride during “Hold Me In Your Heart.” In a moment that tears down the spectacle, Stewart performs the heartbreaking Whitney Houston-esque ballad with a realistic delicacy, a sense of urgency. Gone was Lola, gone was Simon, gone was even Andrew Stewart as performer. All that is felt is a striking resemblance to humanity: a raw and moving self-portrait. It was during this moment that you find the true meaning behind “Kinky Boots,” and in a similar vein, we all become Lola. We all become profoundly human.

Beyond the duo that the show is built upon, there are other characters that deserve recognition for delivering standout moments. Lauren (Cat McKenna), as the awkward human character we all know too well, unequivocally floats through “The History of Wrong Guys.” They provide comedic relief when it is needed, but beyond this, they boast one of the show’s strongest numbers. McKenna is a living example of making every moment in a production count, even when you are limited to the role of an offbeat assistant character type.

Touting a comparable comedic string of moments was none other than Don (Andrew Maldonado). Maldonado, as the uncomfortable conservative antagonist turned ally, navigates playing the Trumpian-adjacent man with both verve and conscious tenderness throughout. Seeming to breathe life into the source material, Maldonado managed to bring another layer to the already dazzling production, and he did it all with a consistent accent and a plaid getup.

In a turn of events, too, Nikola (understudy Darah Donaher) stepped in at a moment’s notice as a fill-in for Mackenzie Alexander Hall. Whether this was a force of nature, or the magic of live theater, Donaher added to the show even with a script in hand.

If anything was evident throughout, it is that this cast really cared about the Queer narrative that they were sharing. Unable to escape the pompous joy between company numbers, Todd Burkel’s dynamic costume design, or even showstoppers like “Raise You Up-Just Be,” “Kinky Boots” fails to misstep. For such a simple show, there are a lot of evocative undertones, and brassy overtones, that deserve repeated viewing.

If you were to take anything away from this particular production, though, it should be that “drag queens are mainstream.” Being human is mainstream. Queer joy is unresting, unmoving and irreversible. “Kinky Boots” is just another gentle reminder of this.

“Kinky Boots,” 7:30 p.m. July 28, 29, Aug. 4, 5; 6 p.m. July 23, 30, Aug. 6, Pennsylvania Playhouse, 390 Illicks Mill Road, Bethlehem. Tickets: 610-865-6665, http://www.paplayhouse.org