In 1983 La Cage Aux Folles premiered on Broadway to critical and financial success despite concerns by the producers that a “gay musical” would not be well received. The original Broadway production received nine Tony Award nominations and won six including: Best Musical, Best Score and Best Book.
The success of the original Broadway production spawned a production in London’s West End and later two Broadway revivals in 2004 and 2010. Despite already being a play and 1978 movie, the story of La Cage Aux Folles is possibly most familiar to non-theater regulars thanks to the 1996 comedy film The Birdcage which starred Robin Williams and Nathan Lane.
Set in the French seaside resort of Saint-Tropez the story of La Cage Aux Folles revolves around Georges– owner and master of ceremonies at his famous drag nightclub “La Cage Aux Folles”. Sharing this life are his troupe of chorus “girls” known as Les Cagelles, his “maid” Jacob and “wife” Albin – headliner at the club under his drag persona “Zaza”. Their glitter and mascara filled lives – however – are thrown into chaos when Georges’ son Jean-Michel returns home with news that he is engaged to Anne Dindon.
Unfortunately, Anne’s father is the head of the "Tradition, Family and Morality Party" whose stated goal is to close the local drag clubs and who finds homosexuality as nothing more than “a perversion.”
Jean-Michel convinces Georges to redecorate their home for the evening and to invite his real mother (a woman Georges had a curiosity fueled one-night-stand with twenty-four years earlier) to dinner with the Dindon’s in the hope of presenting himself as having a “normal” family and to receive the blessing of Anne’s parents about the marriage. The “catch” is that Jean-Michel does not want Albin anywhere near the home during the visit – a decision which nearly tears the family apart.
The Dindon’s arrive, but Jean-Michel’s mother is still absent and Albin – having agreed to impersonate “Uncle Albert” has a last minute bout of stage fright and goes running off to his bedroom.
Just when it appears that the evening is going to be a disaster things slowly (and amusingly) turn around leading to an impromptu performance at an exclusive bistro, owned by a good friend of Albin and Georges, which threatens to destroy the ruse that Albin, Georges, Jean-Michel and Jacob have so carefully tried to maintain.
Upon first arriving at the Pennsylvania Playhouse one is taken in by the attention to detail in the lobby displays – tables set with make-up, wigs, perfumes – as if we are inside Zaza’s dressing room before we even walk into the theater to take our seats.
Once inside the theater, the set welcomes us to La Cage Aux Folles, a very open and pink space. As the lights dim and Georges invites us to “hold onto your chairs” the audience is transported back to Saint-Tropez of the early nineteen-eighties and the lives and loves of the colorful performers about to take the stage.
Fred Broadbent is quite charming as Georges – the hapless patriarch trying to maintain peace between his son and quick-tempered wife. His vocal prowess illuminates lovely ballads such as “Song on the Sand” and “Look Over There.” He genuinely welcomes us into the madcap world around him, possibly with the hope they we help him with some of the crazy predicaments he is thrust into.
By contrast, Kerry McGuire is brassy and outlandish as Albin/Zaza. He struts across the stage in high heels and sequins with the gusto of Carol Channing. It should be noted that McGuire is no stranger to high heels having portrayed Jerry/Daphne in Munopco’s Sugar in 2012. His rendition of “I Am What I Am” left the audience in awe – having watched him pull together all of his “devil may care” attitude as Zaza to deliver a powerful rendition of this Broadway standard.
Rebecca Knappenberger lights up the stage as the restaurateur Jacqueline who possesses a devious intellect disguised by her batting lashes and smile.
Mary-Catherine Bracali and Mickey Brown are also quite enjoyable as the straight laced parents coming to dinner with no idea what they are getting into.
Mrs. Bracali is delightful when she “lets loose” and dances around the stage with a childlike exuberance while Mr. Brown plays his role with the right level of arrogance and distaste.
Of course, being a musical comedy there is a happy ending but, without spoiling the ending, when he emerges as Mr. Dindon at the end of the show it may inspire memories of Irene Sharaff (Google her after you see it).
Jon Lynch and Payton Sherry are pleasing as the young couple in love who desire acceptance from their parents which, ironically, is the one thing Jean-Michel refuses to give his parents.
Charles Weigold, III – as the fiery “maid” (who hates the term “butler”) is a true stand out. His performance is divinely over-the-top as he saunters across the stage – hand on his hip – never reigning in his wide-eyed glares while throwing insults and one-liners. His comic timing is perfectly paired with McGuire’s zaniness as Zaza.
The ensemble as a whole works well together and does not fail to put all their energy into the performance – be it high-kicking chorus lines or rousing Can-Cans. The lineup of Les Cagelles ranges from an Egyptian inspired princess (George Thanhauser, III) to a dominatrix (Dara Connelly) with several of the chorus members playing multiple roles in the show.
Director Brenda McGuire has assembled an exceptionally talented troupe of performers not only on the stage, but also behind the scenes. This is obvious in the attention to detail given to everything from the set painting to lighting to the show posters adorning Albin’s dressing room.
The show benefits from the genuine love the actors seem to have for the characters they portray, embracing their good times as much as their bad just as we do in reality. La Cage Aux Folles isn’t just “a musical about two gay men,” it’s a musical about love. The love of a family. The love of friends. The love that two people share. As the song says “The Best of Times” is now and the cast of La Cage Aux Folles certainly makes the most of this message with a show stopping number that begins small and ends in a raucous frenzy of singing and dancing involving everyone on stage (and a few members of the audience).
The show makes the audience feel as if they are truly in a nightclub with the performers, going so far as to walk out into the audience to talk with people and ad lib.
McGuire has made her audience feel genuinely welcome into the “mad extravaganza” she and her crew have created.
La Cage Aux Folles has performances for one more weekend at the Pennsylvania Playhouse. April 10th through the 12th at 8:00 PM and Sunday, April 13th at 3:00 PM. For tickets call (610) 865-6665 or visit http://www.paplayhouse.org.