La Cage aux Folles

In 1983, when Arthur Laurents directed the first production of Jerry Herman and Harvey Fierstein’s La Cage aux Folles, the big problem was political.  Could a big-time expensive musical about two gay men draw a strong Broadway audience? Should it go the camp route like Jean Poiret’s French farce? Should the men kiss at the end? Laurents solved these problems by placing a strong focus on family and not on sex. La Cage aux Folles was pricey, glamorous, funny and enormously popular. It was revived in 2005, including the kiss.

The subject remains political but La Cage aux Folles proved undeniably audience-friendly and is back now to the Longacre Theatre after a successful run at London's Menier Chocolate Factory. Directed by Terry Johnson, it is a fresh and engaging and smaller revival. With more heart and less spectacle, the show is focused deeper into its core, a family struggle faced by a middle-aged couple, Georges (Kelsey Grammer) and Albin, AKA Zaza (Douglas Hodge).

Georges is trying to hold on to his downscale St. Tropez night spot. Albin, the club’s star female impersonator, is neurotic and temperamental, yet endearing. Also featured is a chorus line of six hunky, limber Cagelles (Nicholas Cunningham, Nick Adams, Logan Keslar, Sean Patrick Doyle, Terry Lavell and Sean A. Carmon), swishing feathers and spangles with plenty of attitude. Trouble looms when Georges’s 24-year-old son from a one-night stand, Jean-Michel (A.J. Shively), announces his engagement to Anne Dindon (Elena Shaddow), the daughter of the red-hot conservative Tradition, Family and Morality Party leader. Furthermore, her parents are arriving for a visit. Something must be done with Albin, the only mother Jean-Michel has ever known. Georges agrees that Albin should go temporarily undercover and their home be cleared of its questionable décor, certain to offend Anne’s parents.

Kelsey Grammer portrays a sincere and believable Georges. As expected, his acting and comedy talent is convincing, but he is also a strong, confident singer, touching with the romantic "Song on the Sand." He also scores with show’s most moving song, “Look Over There,” showing that Albin, not gender, is what motherhood means. Hodge, who won an Olivier Award in London for the role, is emotionally forthright in the Zaza showstopper, "I Am What I Am" and brings nuances of frustrated determination as he practices looking more John Wayne and less Brigitte Bardot in “Masculinity.” When he skitters on the edge of hysteria as things get too threatening, he reaches for “A Little More Mascara,” sling pumps, sparkle dust, and Shalimar, and voilà!, he is “ravishing, fabulous” Zaza. You have to love this exuberant Albin.

Robin De Jesus is high-spirited and opinionated as Albin’s devoted maid, Jacob. Elena Shaddow has a small part, but is as lovely a singer and dancer as she proved recently in the Encores! production of Fanny. She and Broadway newcomer A.J. Shively present a young couple trying to maintain peace when the two disparate families meet. Fred Applegate and Veanne Cox play the Dindons, Anne’s conservative parents, and also double as restaurateurs M. and Mme. Renaud. Christine Andreas portrays the helpful Jacqueline, a restaurateur and friend.

All the elements are outstanding. Lynne Page’s choreography sparkles for those hunky Cagelles. Matthew Wright’s costumes are on target for each character, like Georges’s ruffled shirt and velvet jacket, Zaza’s over-the-top dazzle, and Les Cagelles’ well-worn stockings with holes. A nod also to Richard Mawbey's wigs -- except for Kelsey Grammer’s, which sits on his head like a beanie. Tim Shortall imaginatively extended his set out to the sides of the theater where the eight-man orchestra occupies boxes. He placed a nightclub-style row of small tables front of the stage.

The success of this latest La Cage aux Folles, can be summed up by Act II’s exuberant sing-along, "The Best of Times” (“…is now").

(Pictured: Douglas Hodge. Photo by Joan Marcus)

Elizabeth Ahlfors
Cabaret Scenes
April 20, 2010
www.cabaretscenes.org