Review: LA CAGE AUX FOLLES Dazzles at Cape Rep

There are very few musicals that provide audiences with that "umph" factor we all favor so much in a good production. A good theatrical experience, for both actor and audience member alike, should leave a person with quite the satisfied feeling and a strong desire to come back for more; the actor should be proud and confident in the character he plays, and the audience eager to bear witness to how the dedication of those in such a profession manifests before them on stage. A show that can be both entertaining while emphasizing a lesson to be learned is a win-win; add a wonderful cast and creative team and you wind up with Cape Rep Theatre's production of La Cage Aux Folles, an absolutely beautiful night at the theater that has already succeeded in convincing audiences of its ambition and grandeur from the show's opening night. Cape Rep has a wonderful reputation of bringing shows of professional quality to a Cape Cod audience, and the group's current production is no different: La Cage Aux Folles is sure to delight all those who bring with them their desire to see a show that is bound to be a magnificent hit, brought to the stage in a way that can only be described as dazzling.

With a book by Harvey Fierstein, music and lyrics by Jerry Herman and under the direction of Maura Hanlon (who must also be recognized and praised for her work on this summer's Failure: A Love Story), Cape Rep's La Cage Aux Folles allows audiences the privilege of understanding why the original Broadway production of Fierstein's epic musical was the winner of six Tony's, and why this theater group's ambition to present fantastic pieces of theater and risk in undertaking such a challenging (and costly!) show has once again proven that the conclusion of its 30th Anniversary season is just as impressive and praise-worthy as its start. Not only do the costumes and choreography provide the glitz and gleam that essentially describes the very core of this show, but the actors themselves provide a tangible "spunk" to this production that demands itself to be released amongst sometimes unsuspecting audience members. Having been the first time I have seen this show myself and not knowing more than a simple synopsis of what was to come, I am elated that Cape Rep has shown me the beauty there is to be found in a musical that not only demands the acceptance of human individuality through an engaging and catchy score, but also proves that men can look and dance like a million bucks in a tight dress and pair of heels.

La Cage Aux Folles tells the story of Albin and Georges, life partners who own and operate a drag nightclub in St. Tropez (I perpetually questioned who in this lovely ensemble was actually a man, and kudos right now to amazing me on that basis alone). With his extravagant gowns and eccentric but incredibly endearing demeanor as a man who relishes his time on stage as a woman, Albin is quite adored by the public because of his nightly performances with Les Cagelles. When Georges' son Jean Michel, an apparently hopeless romantic who has vied for the heart of many a girl, announces his marriage to his parents and wishes to bring his fiancé and future in-laws to meet them, Albin and Georges must determine how to appear somewhat normal to a family that is well reputed to hold a strong bias against the transgender community. In an attempt to hide the "dysfunctional" to be found in his family, Jean Michel attempts at making his parents like everyone else's is the hilarious core of this musical, but also the reason why such a beautiful lesson is to be learned towards its end. So, in the ironic twist of no longer relishing to appear as someone a person is not, the dysfunctional is enviable and, apparently, quite entertaining.

The plot of La Cage is clearly a miraculous thing in itself, but this is one show that requires a certain kind of actor to play each part; it can be said that the role calls to the actor and perhaps not the other way around. Many Cape Rep company members have returned to star in this production, while others have clearly made their mark in the theatrical community with this credit added to complement their already talented selves. Jared Hagan as Albin is simply astounding; there truly isn't a better word to describe the grandeur with which he has risen to the occasion of performing this miracle of a role. Not only is he quite the looker in drag, he has one of the most beautiful, resonant voices I have ever heard. Every song he sings is like a symphony contained in the sole quarters of his voice alone, and the effortless way in which he brings this voice to a character who is anything but masculine and makes it work is honestly a brilliant thing to behold. Hagen as Albin, to be candid, simply "works;" it is a crude understatement to say that he was meant to play this role, but instead like the role had him in mind when being brought to life. He is a wonderfully talented actor who provides an ideal core to this production, and I must offer much praise to someone of his caliber.

Richard Sullivan as Georges, Albin's other half, also played his role with the unnerving enthusiasm his character exudes so much of throughout the show, as he is perpetual angst about what will come of the entire situation. As he is the more antsy and worrisome of the two, the levels of stress he portrays on that stage are tangible things; yet, when he is compelled to sing of his love for his counterpart, convincing his at-times depressed soul-mate that his love for him will not dissipate anytime soon, it is equally charming as it is touching to watch one human being care so much for another. Although La Cage has the theme of homosexuality at its core, there is something so beautiful in the simple portrayal of love that makes both actors such a pleasure to watch on stage.

Patrick Beasley makes his Cape Rep debut in the role of Jean Michel, the son of Georges and a woman who has done no more than birth him and then disappear from his life altogether. Both he and Lindsey Erin Agnes as Anne make a beautiful couple, obviously infatuated with each other and he willing to do anything to woo the heart of both his betrothed and her rather conservative parents. His character is exuberant in professing his love for Anne, but the side of Jean Michel's character that comes about when he must ask for a traditional image of family life is rather interesting to behold. Such a man who believes in the power of love enough to profess it before an audience seems to have a certain side to him that wishes to guarantee this love never falters, even in its irony that means moving slightly further back from the men that have raised him and distancing himself from the family he has known and loved his entire life. When this family no longer serves its purpose, even if for the intentions of a single night, his character becomes one of many that needs to learn a lesson or two, and watching Beasley play his cards as both an infatuated youth and a rather manipulative and headstrong man who wants nothing to ruin this one evening is wonderful.

Art Devine and Caitlin Mills as Mr. and Mrs. Dindon are wildly entertaining to watch: he the sophisticated, truculent traditionalist and she his complete yet loyal opposite make for the perfect duo to represent Anne's parents. Finally, we have Anthony Teixeira, Jacqueline Coughlin, Ian Ryan, Darlene Van Alstyne, Carey Scott, Erron Crawford, Zilong Zee and Coy Branscum make up a wonderful ensemble: from dancing to dressing up as maids and then dancing as a dressed-up maid, they are all important assets to make this show what it is, and without them would not have the same punch I will forever remember this production as having that kept me so captivated for its entirety.

Musical Director Scott Storr, Choreographer Todd L. Underwood, Set Designer Mike Steers and Costumer Robin McLaughlin must all receive praise in making this musical the hit it is!

So, if you would like to see a wonderful show, please consider La Cage Aux Folles at Cape Rep Theatre, located at 3299 Rte 6A in Brewster. La Cage began performances on November 5th and will continue its run thru December 6th. The performance schedule is as follows: Wednesdays and Thursdays @ 7, Fridays and Saturdays @ 8 and Sundays @ 2. There will be an additional 2 PM matinee on Saturday, November 28th and no performances on November 25th and 26th. Tickets are $33-$35; group rates and student rush tickets are also available. To order tickets, please visit the box office in person, call (508) 896.1888 or visit www.caperep.org.

Enjoy the show!

Photo Credit:BOB TUCKER/FOCALPOINT STUDIO

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