Review: LA CAGE AUX FOLLES at Music Theater Heritage

Looking for a little relief from the ongoing political season?  If so, I should like to recommend the outrageous, belly-laugh of a show now playing in the Music Theatre Heritage Grand Theater on the fourth floor of Crown Center described by another audience member as “awesome.” It is the self-deprecating, six-time Tony Winning, best musical of 1984, “La Cage aux Folles.” 

The original production of “La Cage” earned Tony Awards for Best Musical, Best Book, Best Score, Best Direction, Best Leading Actor, and Best Costumes.  Revivals of the show have been similarly well-received.

The time is the 1970s.  The place is a cabaret showroom at St. Topez on the French Riviera owned by Georges (Terry O’Reagan), the club’s Master of Ceremonies.  His son, Jean-Michel (Ryan Russell), has returned home to announce his engagement to Anne, the daughter of an ultra-conservative politician, Eduard Dindon.  Jean-Michel has invited Anne’s parents to St. Tropez in hopes of getting their approval for the match. 

An election is near.  Eduard is the head of the “Tradition, Family, and Morality Party.”  His campaign platform includes the closure of all “drag clubs” in France.

The problem is that Jean-Michel’s family is not your typical nuclear group.   Georges is gay and happily married for several decades to Albin (Phil Fiorini).  Also a member of the household is their butler Jacob (Christopher Barksdale- Burns). Jacob insists on being called the maid. 

Albin is the star attraction at “La Cage” as Drag Queen Zaza with her all-male (in drag) supporting group, the Cagelles.  Georges and Albin have raised Jean-Michel as husband and wife.

The ask? Jean Michel gives his father about six hours to redecorate his outrageous gay home in a more conservative style, asks that Georges impersonate a retired French Foreign Service official, invite Jean-Michel’s birth mother to the dinner, and that Georges ditch Albin for the evening.

Albin is, of course, devastated. Act 1 ends with the powerful anthem, “I am what I am.”

During intermission, Albin has calmed down.  He has agreed to appear at the dinner dressed in a dark business suit as “Uncle Albert.” Georges is faced with the impossible further task of moderating Albin’s flamboyant mannerisms before the prospective in-laws arrive.

Meanwhile, Jean-Michel’s birth mother declines to show up.  Albin decides to stand in for her (surprise) in drag (much toned down).

I won’t spoil what comes next or the show’s outcome.  You’ll have to laugh your way through it with the rest of the audience. “La Cage” has a point, but it is musical comedy in the grand tradition.

“La Cage” was ground-breaking in its time.  It was the first Broadway depiction of an openly gay married couple.  It is remarkable how far America has come in forty years.  On the other hand, similar shows would be currently banned in Tennessee.

Fiorini and O’Reagan are both very good, as Albin and Georges.  Both actors have comedy chops as good as they go. Fiorini delivers with the first act finale, “I am what I am.” O’Reagan hits his high point vocally with “Song on the sand.” Russell is impressive vocally throughout.  Barksdale-Burns is an appropriate mess as Jacob.  I was most impressed with the big production numbers anchored by the Cagelles. 

“La Cage” is based on a 1973 French farce of the same name by Jean Poiret.  By 1978, it was already a film.  The Broadway adaptation is by Harvey Fierstein with music and lyrics by Jerry Herman.  The MTH version is co-directed by Tim Scott and Kansas City Drag Performer Daisy Bucket.  Choreography is by Tina Rojas.  The musical director is Ty Tuttle.  The set is designed by Sarah Reed. Lighting by Shelbi Arndt. Costumes are by Georgianna Londre.

La Cage aux Folles continues through August 18 at the Grand Theater inside Crown Center.  Tickets are available online at www.musictheaterheritage.com or by telephone at 816.221.6987.

Photos by Tim Scott

To post a comment, you must register and login.