Ending its extended run at the Goodspeed Opera House, La Cage aux Folles, directed by Rob Ruggiero, officially brings the summer season to an end. The show commenced on June 26 and closed on September 10, a lengthy run that indicates the attraction of musicals, with their big casts, complicated costume changes, live musicians, songs and, in this case, a hint of slapstick and a touch of sentimental schmaltz in an affecting tale of true love triumphant.
The Book by Harvey Fierstein, which won a Tony back in 1983, has become by now quite venerable, however outrageous it may once have been. Key to it all is the character of Albin, played here by Jamiston Stern in a faultless and winning performance. Albin’s alter ego is “Zaza,” a top notch drag star at La Cage aux Folles, the St. Tropez cabaret run by his romantic partner Georges (James Lloyd Reynolds). Georges, once upon a time, begat a son, Jean-Michel (Conor Ryan), and the latter has come round to say it’s time for his folks—Georges and a long absent mère—to meet the folks of his intended bride, Anne Dindon (Erin Burniston). This inspires some despair over the youthful marriage but the real catch is who those prospective in-laws are. M. Dindon is a man with a mission: as leader of the “Tradition, Family, and Morality” Party, he’s all for cleaning up places like Georges’ club and doing away, Anita Bryant-style, with anything that suggests same-sex coupling is not a crime or an outrage. So, of course, swishy Albin must be forced into hiding.
What makes the show work in the first half are the jumps between the apartment, where Albin frets over his feelings and reviles everyone else’s lack of feeling, and, downstairs, the stage of La Cage where Georges prowls about in swank threads and regales the audience with pleasantries while “the girls”—a collection of cross-dressers known as The Notorious Cagelles (Darius Barnes, Michael Bullard, Alexander Cruz, Erin M. Kernion, Alex Ringler, Nick Silverio, Nic Thompson)—entertain. Ralph Perkins’ choreography for the show tunes features acrobatic splits and flips as well as sinuous gestures, the costumes by Michael McDonald are as pizazzy as one could hope—particularly for the “La Cage aux Folles” number—and the songs by Jerry Herman let the girls strut their stuff.
Less effective are the musical efforts to be more touching and less tongue-in-cheek. Reynolds, with his firm jaw and twinkling eyes, is a lady-killer of a Georges, but “Song on the Seine,” his number in tribute to his love for Albin, doesn’t quite stir as it should. And the other love song, “With Anne on My Arm”—sung by Ryan winsomely—sags a bit, especially following Stern’s worked up rendering of “A Little More Mascara.” Thankfully, the two lovebirds, Albin and Georges, make “With You on My Arm,” a variant on Jean-Michel’s number, debonair and delightful. And Albin’s show-stopping curtain song “I Am What I Am” is in every sense a tough act to follow.
The shorter second act doesn’t quite cook as much as the first. Whenever Albin is onstage we get to bask in the fascination Stern finds in the part, even when simply the object of Georges’ admiration—as the only mother Jean-Michel knew—in “Look Over There.” But the staging of the dreaded meeting between the Dindons (Mark Zimmerman and Stacey Scotte) and Georges, sans wife until Albin shows up in a dress, is short on pay-off. The dialogue’s never quite as entertaining as one might hope and soon enough it’s time for another song with everyone whirling a partner and, of course, M. Dindon leading the Chanel-clad Albin. Things go awry and then get realigned with the age old schtick of comic cross-dressing.
Theatrically, one of the neat tricks of La Cage is that it is able to exploit the sexiness of guys (the Cagelles) who look good as gals, the perceptiveness of a guy (Albin), who identifies feminine, trying to act masculine, and the comic yuks of a guy (M. Dindon) who considers himself all male having to dress as a woman. And then there’s Cedric Leiba, Jr., as maid/butler Jacob, who does all that can be done with the role of a sassy and surly underling in hot pants and heels.
By the end of the show, the warmth of affection for Stern’s touching Albin and Reynolds’ doting Georges carries the day, and, in the light of recent refusals to grant legal marriage certificates to gay couples, one might say that the lesson of La Cage is still pointed enough and not simply all in fun. The audience was on their feet cheering and one hopes it’s a cheer for the show’s benign depiction of same-sex love as equally amenable, as marriage always is, to “tradition, family, and morality.”
La Cage aux Folles
Book by Harvey Fierstein; Music and Lyrics by Jerry Herman
Based on the play by Jean Poiret
Directed by Rob Ruggiero
Musical Direction by Michael O’Flaherty
Choreography by Ralph Perkins
Scenic Design: Michael Schweikardt; Costume Design: Michael McDonald; Lighting Design: John Lasiter; Sound Design: Jay Hilton; Hair, Wig & Makeup: Mark Adam Rampmeyer; Assistant Music Director: F. Wade Russo; Production Manager: R Glen Grusmark; Production Stage Manager: Bradley G. Spachman
Cast: James Lloyd Reynolds; Jamison Stern; Conor Ryan; Cedric Leiba, Jr.; Wade Dooley; Barbara McCullon; Kristen Martin; Sue Mathys; Chris Hietikko; Alex Ringler; Erin M. Kernon; Mark Zimmerman; Stacey Scotte; Darius Barnes; Michael Bullard; Alexander Cruz; Erin M. Kernion; Alex Ringler; Nick Silverio; Nic Thompson; Brett-Marco Glauser; Emily Grace Tucker
East Haddam, CT
June 26-September 10, 2015