In the realm of grand dance sequences and certain musical numbers, this formerly groundbreaking Broadway production – notable for introducing a central gay relationship in 1983 – excels impressively.
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However, a lackluster storyline and subpar acting in Tim Sheader’s lavish rendition hinder its overall appeal.
Visual Splendor and Dated Themes
The visual spectacle is undeniable, owed to the extravagantly camp set and costume designs, accompanied by a cast of drag kings and queens that adds flair to the show.
Yet, amidst this splendor lies an emotional emptiness, reminiscent of a dazzling exterior with little substance – akin to a splendid gown without the expected undergarments.
This production marks a bittersweet farewell for Sheader at a venue he transformed into a cultural hub, celebrated for rekindling interest in overlooked musicals.
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La Cage: A Story in Transition
Harvey Fierstein’s adaptation of Jean Poiret’s 1973 play, “La Cage,” appears fitting for revival.
The story unfolds within a St. Tropez drag club, revolving around a young man’s endeavors to conceal his fathers’ homosexuality to avoid offending his conservative future father-in-law, a prominent politician.
The music by Jerry Herman includes the timeless self-empowerment anthem of the Pride movement, “I Am What I Am.”
Frail Plot and Languid Dynamics
However, the narrative feels insubstantial and delicate in today’s context, with contrived conflicts forming its core.
To regain its vigor, the production requires the fervor embodied by Robin Williams and Nathan Lane in the non-musical cinematic adaptation, “The Birdcage.”
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Sadly, the dialogues between songs appear lackluster, lacking the needed urgency.
The choice of employing Geordie accents, replacing French accents, might contribute to this disparity.
Character Dynamics and Musical Resonance
Billy Carter’s portrayal of the suave yet somewhat subdued nightclub owner, Georges, alongside his melodramatic partner and drag star, Albin (Carl Mullaney), lacks a genuine sense of connection.
Similarly, the relationship between Georges and his biological son, conceived in a moment of heterosexual impulse, feels strained, embodied by Ben Culleton’s performance that blends overacting with woodenness.
The Power of Melodic Craftsmanship
Amidst its flaws, the musical’s saving grace emerges from Jerry Herman’s composition prowess.
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Notable tunes include the wistfully languid “The Best of Times,” the titular piece “La Cage aux Folles,” and the resounding anthem “I Am What I Am.”
Mullaney delivers a stirring rendition of the latter, concluding Act One, while Carter infuses his songs with a charismatic, roguish allure.
Vibrant Ensemble Moments
The production’s most captivating instances occur when choreographer Stephen Mear commands the ensemble to center stage, showcasing energetic high kicks, acrobatics, and splits.
These scenes evoke the striking audacity that the musical embodied in its 1983 debut.
The show’s contemporary relevance in a climate of growing intolerance is noteworthy, yet it leaves room for improvement.
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