La Cage Aux Folles

When La Cage Aux Folles opened on Broadway in 1983 it was considered risque and risky by the liberal minded – and downright scandalous by the puritans. Despite Jerry Herman’s lovely French inspired score, the storyline of two long-time homosexual lovers, one a drag Queen, the other a nighclub owner (the La Cage of Folles of the title) who conspire to fool potential in-laws with a bias against both nightclubs and transvestites, was too bizarre for many average theatre goers, despite sweeping the Tony awards. Luckily it was adapted from a French play (1973 - Jean Poiret) for, as we knew/know, the French are capable of anything!

But it’s 30 years later – and the world is inevitably embracing (albeit far too slowly) the reality of equality and legality in  same sex marriage, and so La Cage takes on a new dynamic; it’s no longer a novelty, something which could only happen “over there.” It’s now a pertinent look at a gay marriage and what acceptance means for gay couples. When Georges tells Albin (Za-Za) (his wife of 20 years who has raised his son from a heterosexual one night stand) that he can’t be present at the family dinner to greet their son’s fiancée and family, unless he dons a suit and acts butch, we aren’t just heartbroken for Albin – we’re bloody angry that there is still homophobia and that these bourgeois prigs can’t recognise deep love and commitment when they see it. 

This is a semi-professional production – but you’d never know. It sparkles, it glitters, and (something which sets it apart from other productions I’ve seen) it has two stars with simply GREAT musical theatre voices and style. John O’May (Georges) and David Rogers-Smith (Albin/Za-Za) excel and are equally matched throughout. In a show which could be, and often is, a tour de force for Albin/Za-Za (George Hearne on Broadway – and the wonderful Jon Ewing in Australia), it was refreshing to see O’May (a major star in everything he does) and the brilliant Rogers-Smith play their relationship as equals and with an intimacy that comes from working together previously. Their voices blend superbly and are a revelation in harmony. O’May almost steals the show with his beautiful rendition of the chanson Song Of the Sand, complete with accordion. It’s quite magical and evocative. Rogers-Smith brings to the (in)famous I Am What I Am more than the defiant quasi-butchness of George Hearne, or the heart-breaking vulnerability of Jon Ewing. His version is that of a man who happens to be gay, happens to be an entertainer, but is first and foremost a human being who loves his partner and child…and isn’t that just…”normal”? It’s a finely balanced performance full of humanity that everyone can relate to. My theatre partner and I both wept openly and it’s hard sharing one tissue between you.

Great as the two stars are, they almost have the show stolen from under them by the wonderful Nicholas Kong (Jacob) – who is surely destined to be one of our brightest comic musical talents in the future. All of the cast are good but special mention must go to Francesca Arena for her delightful portrayal of Jacqueline and to Reece Budin (Jean-Michel) for his beautiful vocal performance – just a few more acting classes please.

Despite a couple of minor wardrobe glitches on second night, the costumes, by Isaac Lummis, are nothing less than stunning throughout (I coveted Za-Za’s spectacular pink gown with Madonna “cones” for the days when I “trod the boards”).  Director Shaun Kingma and Choreographers Tamara Finch and James Rooney ( who ARE Quirky Productions) have created a production which plays to the comedy….even to the point of the Cagelles having varying degrees of dancing talent and commitment….much like every drag show I have ever seen (and there have been a LOT). What’s interesting is the way they have developed the individual characters of the Cagelles….they too are living, breathing, three dimensional people. Special mention to Jayden Hicks, a great dancer whose Angelique was totally believable.

This production is a triumph and it’s a travesty (oddly enough, that’s the French word for transvestite) that it only has a one week season to play when far lesser productions have more substantial runs in the city. Get tickets for this week…you’ll laugh, you’ll cry…hell, you’ll want Georges and Albin to move in next door; for this is a love story – not of a young boy and his fiancée – but of two middle-aged “queers” who understand that marriage is for life, and, ultimately love is all there is…no matter whom you love.

PS…Don’t miss the pre-show piano bar entertainment – accompanied by Cameron Thomas ( no mean slouch at vocals himself) the fabulous Dolly Diamond (AKA Michael Dalton) presents us with a drag queen par excellence and sends us into the auditorium with some great songs and witty patter ringing in our ears.

Coral Drouyn

Images (from top) John O'May & David Rogers-Smith; Reece Budin & JohnOMay; David Rogers-Smith (x2);  John O'May; Les Cagelles; Jeremy Hinman (Cagelle) and John O'May & David Rogers-Smith. Photographer: Emily McCoy