La Cage Aux Folles

The show may start with calling itself an illusion, but there’s far more depth to be found in the current revival of La Cage Aux Folles than in most shows you’ll find on the Great White Way.  While still ostensibly cartoonish and dated, this production directed of the show by Terry Johnson brings forth real heart and emotion in the best spirit of musical theatre.  By stripping down the production, Johnson eliminated some of the spectacle.  There are still plenty of sparkles, spangles, and costume changes, but never enough to weigh down the show.

Douglas Hodge leads the show, transferring with the production from the West End, as the titular cabaret’s star, Zaza.  He’s no sparkling beauty, but fully encapsulates the characterization of an aging drag queen.  While he gets the most ridiculous moments, he also grounds the show with a sense of hurt, love, and desire that comes across more fully than I expected.  The dinginess of the cabaret lowers the glam factor, but Hodge’s range-y performance more than counters.

And he’s not alone.  The ostensible star of the show is Kelsey Grammer, whom all of the tourists are coming to see.  But, they’re in for something of a surprise.  Not only does Grammer give a great performance as the cabaret’s host Georges, with a surprising  singing voice and a tenderness toward Hodge’s Zaza, but he very happily takes a backseat to the showier role Hodge has.  And the two performers have an easy chemistry, making a twenty-plus year relationship entirely convincing.

What ultimately isn’t convincing is the remnants of a dated notion in Harvey Fierstein’s book.  Based on a 1973 play, the story is fairly well-known.  A son, eager to please his fiancé’s conservative politician father and mother, tries to hide the fact that he was raised by two gay men by asking the biological one to jettison the other for the night.  The setup simply won’t work today.  And, frankly, it wasn’t entirely believable fifteen years ago in The Birdcage, also based on the same play.

This production doesn’t shy away from the political edge involved, but the book is so cartoonish, it’s hard to take the threat of the reveal all that seriously.  Also in question is the actual timeframe of the show.  While I believe it was set in the 1970′s, the costumes and mannerisms aren’t all that distinguishing.  While these are cracks in the armor of the production, the charms far outweigh these problems.

Set on the Cote d’Azur, most of the show takes place in the titular cabaret, where Hodge’s Albin takes the stage as Zaza, supported by a set of Cagelles.  In earlier productions there were at least a dozen Cagelles, but in this version, they’ve been pared down to six.  The reduction makes it feel a bit more realistic, along with the moderately worn stage.  The Cagelles themselves are no meek things.  Each very muscular dancer shows a bit of stubble here and there, not even pretending to “pass”.

And that combination of natural vibe and genuine structure set the scene quite well.  Grammer and Hodge rule the roost, with loving support from their neighbor, played by a very game Christine Andreas, and a hilarious maid, played by Robin de Jesus.  There are a few clunkers of songs, but for the most part, the show moves along quite well, leading up to Albin/Zaza’s realization of the situation, where he lets loose with the show’s most famous song, I Am What I Am.  And, rightly so, its a showstopper.  Hodge’s glam exterior and hurt interior are perfectly blended in this very touching moment.

The second act introduces the politician, played ably by Fred Applegate, and his wife, played by Veanne Cox.  Applegate gets to scream and rant, but not much else.  Cox is left with less to do, but sparkles with a few glances.  Anyone who’s seen The Birdcage or other iterations of the show knows how it all ends, with Hodge’s Zaza playing the mother, leading them all in a song, and ultimately getting revealed in the show’s other great number, The Best of Times.  It’s all executed quite well, and the finale of course brings a barrage of laughs, delights, and utter joy.  Not to mention a kiss between Grammer and Hodge, a touch that was sorely missing from the original show.

Overall, the book might be dated and a few songs might not stand up anymore, but La Cage Aux Folles is a winner of a show, and this production makes it sing.  Jerry Herman’s music, Terry Johnson’s production, and some fantastic performances will bring the house down every night.

Also, one of the Cagelles, Sean Patrick Doyle is blogging about the show on BroadwayWorld.com and the Cagelles are also on Twitter.