Let’s cut straight to the chase – this glitzy, sparkling Metropolitan Musical Theatre Company production of La Cage Aux Folles would simply have to be one of their best. Certainly the best that this reviewer has seen from them in a while (though The Boy From Oz came close).
Originally a French stage farce written by Jean Poiret in 1973, it was then a French/Italian co-produced film made in 1978; then in 1996 Hollywood got involved with the storyline and The Birdcage was born starring Robin Williams and Nathan Lane. In between 1978 and 1996, however, in 1983 the Broadway musical version reared its beautifully mascaraed head.
With a great book by Harvey Fierstein and music and lyrics by Mr Broadway Musical himself, Jerry Herman (“Hello Dolly”, “Mame”, “Mack and Mabel”) the show has a great head start. But the Met have made sure that they have kept the champagne and feather boas flowing with this absolutely wonderful version.
The story concerns a Drag nightclub owner, Georges (Daniel Fleming), and his Life Partner, Albin (Michael Bates) who is the club’s star attraction Drag Queen Zsa Zsa (think Carlotta). Once many years ago, Georges spent a mad passionate night with a female which resulted in a son, Jean-Michel (Lachlan Steiger). Jean-Michel has decided to tie the knot with pretty Anne (Abbey Paton), whose family happens to be extremely moralistic and strict. In fact the father is a politician who wants to close down all Drag shows. And they are coming to visit – oh dear!
Director Ben Saunders has gone for simplicity and fluidity with this production and it works big time. His over all concept concentrates on bringing every bit of comedy and tender emotion out of the script and his actors. His set design is simple and stripped back from the usual big production values and sets other versions of this show have gone for in the past. However, this works like a charm as the scene changes are speedy and sometimes happen without the audience even noticing, plus it makes one concentrate on the actors instead of worrying if a wall is the correct shade of green. Even stripped back, we always know where we are at any given time in the show.
Musical Director Tammy Papps also keeps the show flowing nicely with her very tight orchestra and clever vocal arrangements. Kudos should also be mentioned here of the excellent and perfect sound balance by Allpro Audio and operated by Martin Gilbert. How refreshing it is to hear both performers and orchestra clearly without any pops or scratches going on as is the want of a lot of community theatre musicals.
Jacinta Vistoli’s choreography is wonderfully Broadwayish and movement flows nicely from the cast. Comedy and choreography especially flow in the very funny “Cocktail Counterpoint” in the middle of Act Two. This routine is so good and so fast that a second or third viewing of it wouldn’t go amiss.
The costumes for this production by Carmel Vistoli and eight dressmakers are absolutely stunning!! Most of them would hold their own in any professional production of this show, especially the gowns worn by Albin as ZaZa and her Les Cagelles (her backup drag dancers). Mention must be made also of how all the men’s suits fit perfectly with correct trouser length and not a wrinkle in sight – immaculate!
The Ensemble, (Peter Keller, Jodie Collins, Abigail Papps and Tasma Jeffries) fill out the cast well and never look out of place. Matthew Phillips as Francis, the Stage Manager of Zsa Zsa’s show, is one of the nicest and most put upon SMs in the business.
The Cagelles (Shane Huang, Sean Wright, Kuan, Benjamin Johnson, Daniel Whitehead, Barbara Nutchey, Michelle Ogden, Dani Panfilo, Jasmine Duggan Isla Zorkovic) are all fantastic and each has their own character. Wright in particular “whips” up a storm as Hanna from Hamburg.
As restaurateur Jacqueline and looking like a younger Patti Newton, Heidi-Rae Abbey sings up a storm. Carolyn Adams does well in the often under utilised role of straight-laced Marie Dindon. Her reaction to pictures of young men playing some sort of game on the plates is hilarious. As her less than fun husband, Edouard Dindon, Jay Mancuso excels at being the perfect stick in the mud and makes us suitably hate him and laugh at the same time. As the extremely over- the-top (on purpose) maid/butler Jacob, Ewerton Silva adds to the fluidity of the production with his beautifully flowing moves.
Steiger as Jean-Michel seemed slightly nervous in his first appearance on opening night but quickly got a handle on the character. It’s not easy being one of the more serious characters in a show full of comedy. Paton is absolutely lovely as Anne. She moves and sings to perfection.
What can be said about the two leads except that they are phenomenal! Fleming as Georges gives his best performance ever. He is a true triple threat in this show. He exudes stability and calmness, with a nice restraint. He not only delivers some great humorous lines but hits us well with tenderness and heart. His rendition of “Look Over There” is beautifully sung with emotion.
As Albin/Zsa Zsa, Bates is dazingly sensational! This is a role that must have the right amount of over-the-topness to work well – not too little and not too much. Bates gives it the exact amount and works the comedy well. There’s a slight mixture of Julian Cleary’s speaking voice and the stature and gait of a Shakespearian actor about him. He makes every laugh work and again has this wonderful heartfelt tenderness that makes one feel for him in the toughest of times, even though he’s the perfect Diva. His Act One finale number, the Pride anthem of all time, “I Am What I Am” gave this reviewer goosebumps – I have never heard it sung with so much passion and, indeed, pride.
You do not have to be part of the LGBTQIA+ movement to enjoy this show. It is just a good old fashioned musical that is choc-a-block full of laughs, great hummable show tunes, and some wonderful heartfelt emotions. So, put your sling pumps and rhinestone earrings on and rush to the Arts Theatre and open your eyes to La Cage Aux Folles!
