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Sometimes, I’m not sure what other reviewers are smoking. Last night, while attending La Cage Aux Folles at the Pasadena Playhouse, I attempted to figure out when I last saw the show on stage. I searched for a writeup of the show on my site, and came up empty (and I started writing up shows on Livejournal around 2004). I did find this other reviewer’s writeup of the PP version of the show, and he thought it was an ill-conceived take on the show — and this is a reviewer that seems to love everything. I did discover that the revival of La Cage toured in 2012 (and I seemingly skipped out on attending that), and the original was in LA through the LA Civic Light Opera in 1984. This could actually mean that the last time I saw this show on stage was way back in 1984. Forty years. Wow!
Reading through this other review, the reviewer’s opinion is that this production was essentially overdone, overacted, and ill-conceived. This reviewer didn’t like the interpretation, which is completely their prerogative. I disagree, and hopefully in this writeup I can explain why.
Hopefully, you’re someone familiar with La Cage Aux Folles. Perhaps you read the original story. Perhaps you saw the original film. Perhaps you saw the American remake (“The Birdcage”). Perhaps you’ve even seen the musical, which is based on the original story, not the movie. The basic plot is as follows — and it is essentially a sitcom. You know that because you can end it with “Hijinks ensue”
Two gay men operate a nightclub in the south of France: one is the star drag performer (Albin/Zaza), and the other serves as the non-drag emcee (Georges). Albin is a bit of a Diva, and a bit of a force of nature; Georges is the more sedate of the two. Their son comes home and tells them he’s found the girl he wants to marry. Her family is coming to dinner. However, her father is a right-wing politician who wants to get rid of all gay nightclubs, so they need to degay the place. Oh, and Albin, who service as the son’s mother, needs to disappear for the night, and they will invite the son’s real mother whom Georges had a one-night-stand with 24 years ago. Insert the first hijinks ensue. The ultimate conclusion is to masculine-ize Albin into “Uncle Al”. But when the mother skips out on attending, Albin becomes … yup. Add to that the press discovering that the politician is at a gay club, and, well. Hijinks ensue.
The show itself is surprisingly timeless. It was written in the 1980s, and came out during the AIDS epidemic. There was lots of anti-gay sentiment. Pivot to today: And there is still a lot of anti-gay, and especially anti-drag, sentiment. There are right wing politicians that want these folks to go away. The response from the gay community: PRIDE. The anthem at end of Act I says it all: “I Am What I Am”. We must be proud of who we are, and be out about who we are, not matter who we are.
I’ll also note that this is one of those rare shows that does not play the “man dressing as a woman” trope for humor. It is simply who these people are, and the costumes are not the humor in the show. Contrast that the recent shows that never learned the lesson: Tootsie, Mrs. Doubtfire, Some Like It Hot, and others.
The original production of this did a traditional Broadway take on the show. The nightclub was a classy joint, and the Cagelles were dressed as French showgirls, making it hard to tell, as they say, who was who and what was what. The actors didn’t overplay their characters, although one can’t say that they played them straight. [I’d say “rimshot”, but even that has a different meaning]. But it was a big singing and dancing extravaganza with Jerry Herman tunes. The 2012 Revivial, with Doug Hodges and Kelsey Grammer, I’ve only heard. But the album makes it clear that Hodges hammed it up as Albin, and Grammer overplayed it. That’s likely why I skipped that version.
In this version, the director, Sam Pinkleton, takes a very different take on the show. Instead of being in a high-class nightclub, this show is more of a very seedy, low-rent, drag review. Think the quality of the club you see in Caberet. It has seen better days, and the quality of the performers isnt’ the best. In many ways, that works better (and would be even stronger if the leads were visibly older). But some reviewers can’t get past their conception of the club.
Another change made by the director — and one that bothered me a bit more — was changing the characterization of the son, Jean-Michel. In this production, he is differently-abled (and the actor that portrays him really has C.P.). His fiancée is also not the typical beauty that you find playing the character — she is larger and my guess from the portrayal is intended to be slightly autistic. This is a truly different take, but it also makes some of the songs actually have more meaning (especially “Anne on My Arms”). Think about the following lyrics when the guy is disabled and can’t walk too well unaided: “Who else can make me feel like I’m handsome and tall? / Who else can make me feel I’m on top of it all? / I found a combination that works like a charm: / I’m simply a man who walks on the stars / Whenever it’s Anne on my arm! / Life is a celebration with you on my arm / Walking’s a new sensation with you on my arm / Each time I face a morning that’s boring and bland / With you it looks good, with you it looks great / With you it looks grand!”. This directorial choice: It surprisingly works.
The production also retains the over-the-top nature of Albin. Grating at first, it grows on you and now I can see its charm that must have been there in the 2012 revival. It certainly adds to the hilarity of the show. And believe me: this show is laugh-out-loud funny. I tend not to laugh at shows, and I was laughing at this one.
Some of the changes made I didn’t like, and these are likely due to the limitations to the Playhouse and budget: The Cafe scenes seemed to be more randomly at the beach, which made no sense at all. There was far too much glitter flying everywhere, which bothers me as I’ve become more aware of plastic pollution. We don’t need glitter cannons in every show, folks.
A lot of credit in this show goes to the performers, and especially the leads. Cheyenne Jackson is charming, with a wonderful singing voice and incredible comic timing (which you likely saw on Call Me Kat). He’s also an incredibly good looking hunk, and I say this as a straight guy. He is just a delight delight to watch, and appears to be having the time of his life with this show. When actors are having fun, it comes through in their performance. Kevin Cahoon was not a super feminine Zaza, but was a great over-the-top comic Albin. Ryan J. Haddad, as I’ve noted, gave a very different interpretation of Jean-Michel, and Shannon Purser was (in my eyes) an extremely beautiful Anne. Additional comic chops go to Michael McDonald and Nicole Parker as Anne’s parents. You only see them in a few scenes at the end of Act II, but they are just hilarious.
So, in summary, if you are expecting a traditional take on La Cage, then this show probably isn’t for you. The low rent conception of the nightclub, combined with the changes in portrayal of some of the characters, will likely turn you off. But if you go into this show with an open mind and open heart, you can really believe that perhaps this is what Jerry Herman meant all along: a show that really emphasizes being who we are, and being proud of who we are. Straight or gay. Differently-abled or not. Sedate or over-the-top. We are who we are. We are our own special creations. We should be proud of that.
La Cage Aux Folles continues at the Pasadena Playhouse through December 15. Go see it. Tickets are available through the Playhouse Box Office.
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La Cage Aux Folles. Book by Harvey Fierstein. Music and lyrics by Jerry Herman. Based on the play by Jean Poiret. Directed by Sam Pinkleton. Choreography by Ani Taj.
Cast (æx indicates Actors Equity): Cheyenne Jacksonæ Georges; Kevin Cahoonæ Albin/Zaza; Ryan J. Haddadæ Jean-Michel; Shannon Purseræ Anne; El Behæ Francis; Michael McDonaldæ Edouard Dindon/M. Renaud; Nichole Parkeræ Marie Dindon/Mme. Renaud; Shea Diamondæ Jacqueline; George Salazaræ Jacob; Key Bebe Queueæ Cagelle; Cody Brunelle-Potteræ Cagelle; Salina EsTitties (Jason De Puy) Cagelle; Rhoyle Ivy King Cagelle; Ellen Soraya Nikbakhtæ Cagelle; Suni Jade Reidæ Cagelle; Paul Vogtæ Cagelle
Music Department: Darryl Archibald Music Director / Keyboard; Abdul-Hamid Royal Assoc Music Director / Keyboard; Damon Zick Reed 1 (Flute, Clarinet, Soprano Sax); Joe Di Fiore Reed 2 (Clarinet, Bass Clarinet, Alto Sax); Erick Jovel Trumpet; Devon Taylor Trombone; Jonathan Richards Bass; Dominick Anzalone Drums / Percussion; Eric Heinly Orchestra Contractor.
Production and Creative: David Zinn Scenic Design; David Reynoso Costume Design; Stacey Derosier Lighting Design; Daniel Erdberg Sound Design; Ursula Kwong-Brown Sound Design; Alberto “Albee” Alverado Wig and Hair Design; Ryan Bernard Tymensky, CSA / RBT Casting Casting; Chris Waters Stage Manager; Sam Allen Asst Stage Manager; Lydia Runge Asst Stage Manager.
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Administrivia: I am not a professional critic. I’m a cybersecurity professional, a roadgeek who does a highway site and a podcast about California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at: Center Theatre Group/Ahmanson Theatre; Broadway in Hollywood/Pantages Theatre; Pasadena Playhouse; and 5-Star Theatricals. We’re looking for the right intimate theatre to subscribe at — it hasn’t been the same since Rep East died (it’s now The Main, and although it does a lot of theatre, it doesn’t have seasons or a resident company), and post-COVID, most 99-seaters aren’t back to doing seasons (or seasons we like). I used to do more detailed writeups; here’s my current approach.
Upcoming ♦ Theatre / ♣ Music / ◊ Other Live Performance – Next 90ish Days (⊕ indicates ticketing is pending). We’re a bit light on theatre while my wife is recuperating from her knee replacement.
- December: ♦ Wicked at Broadway in Hollywood/Pantages; ♦ Once Upon a Mattress at CTG/Ahmanson;
- January: ♦ Anything Goes (Concert) at Pasadena Playhouse (Pasadena Civic);
- February: ♦ Stephen Sondheim’s Old Friends at CTG/Taper; ♦ Harry Potter and the Cursed Child at Broadway in Hollywood/Pantages; ⊕♦ Desperate Measures at ICT Long Beach;
- March: ♦ Top Dog/Underdog at Pasadena Playhouse; ⊕♣ Nefesh Mountain at McCabes; Fake It Until You Make It at CTG/Taper; MRJ Man of the Year Dinner at Temple Beth Tikvah; ⊕♦ Drat the Cat at Group Rep; MoTAS/MoTBH Mens Seder at TAS.
This entry was originally posted on Observations Along the Road as Finding Your Pride | "La Cage Aux Folles" @ Pasadena Playhouse by cahwyguy. Although you can comment on DW, please make comments on original post at the Wordpress blog using the link to the left. You can sign in with your LJ, DW, FB, or a myriad of other accounts. Note: Subsequent changes made to the post on the blog are not propagated by the SNAP Crossposter; please visit the original post to see the latest version. P.S.: If you see share buttons above, note that they do not work outside of the Wordpress blog.