Theater Review: "La Cage Aux Folles"

If one is to take the songs of “La Cage Aux Folles” seriously, then without a hint of irony, the “best of times is now.” And the production currently on Broadway at the Longacre Theatre proves it.

“La Cage Aux Folles” is based on the French play by Jean Poiret, the book was written by Harvey Fierstein with lyrics and music by Jerry Herman. It won the Tony for best musical when it originally opened in 1983.

It takes place in St. Tropez, France, the home of the drag nightclub, La Cage Aux Folles. It is run by Georges, whose gay lover Albin is the headliner. The two have a son, Jean-Michel who has fallen in love with the daughter of a prominent homophobic politician. Consequently, he has lied to his prospective in-laws about his parents’ true orientation and occupation.

Director Terry Johnson's production is sparse compared to the original 1983 version. Here, the Cagelles are restricted to eight dancers, the costumes are a little plainer, the set a little smaller and full of meta-theatrical moments. Here, when the Cagelles do their high-kicks and splits, visibly grimace in hilarious pain and the stage manager can sometime be seen running in the background across the stage.

Yet this self-referential quality of “La Cage Aux Folles” keeps the musical from becoming too schlocky. By being able to poke fun at itself, the production is simultaneously classically Broadway and modern. Because no matter the amount of glitter, it’s message of tolerance and confidence, barring gender or sexual preference, is timeless.

Kelsey Grammer holds up well in his Broadway musical debut. His singing voice is a tad weak yet it shines with sincerity, especially in the ballad “Song in the Sand,” which depends not on belting, but on emotion to carry it along. It’s easy to see his love and adoration for Albin.

Then there is Albin (Douglas Hodge), who steals the show. Despite being extremely flamboyant, he never descends into caricature. The show-stopping “I Am What I Am” can be, and has been, sung as a power number. Yet Hodge’s version transforms it into a heartbreaking anthem about Albin’s earnest need for acceptance. From his first halting words to the final notes that soared to the mezzanines, it’s a transcendent moment.

The musical’s ending remains a tad predictable and cliché. Yet that does not detract from its sincerity. “La Cage Aux Folles” continues to be hilarious and joyful, and reminds me why I love musicals so much. It's because for two and a half hours, I can believe that the best of times is now, right in the theater.



Details
What: "La Cage aux Folles" at the Longacre Theatre
Other: Headliners Kelsey Grammer and Douglas Hodge will step down on Feb. 13 and Jeffrey Tambor and Harvey Fierstein will take over the roles of George and Albin.