La Cage aux Folles

La Cage aux FollesReview By: Carey PurcellCareyPurcell@TheCinemaSource.comSpring seems to have come late to New York this year. The sun is shining but a cool breeze still lingers in the air. Those longing for a gentler climate should hurry to the Longacre Theatre, where the revival of La Cage aux Folles brings so much warmth to the heart that theatergoers won’t feel the chill of Times Square as they exit the lobby.Many have questioned the wisdom of reviving this show so shortly after its widely panned production in 2005. Happily, all naysayers have been proven wrong by this simple, heartfelt, incredibly entertaining production. With a book by Harvey Fierstein and music and lyrics by Jerry Herman, and inspired by Jean Poiret’s play and film of the same name, La Cage aux Folles tells the story of Georges (Kelsey Grammer) and Albin (Douglas Hodge, in a triumphant Broadway debut), longtime lovers who own the titular nightclub where a chorus of nimble drag queens perform. Georges serves as a manager and emcee and Albin stars in the nightly show as the famous drag queen Zaza.The two have have raised Georges' son Jean Michel (A.J. Shively) together, Albin embracing the role of a mother. The result of Georges’ one-night stand with a chorus girl, Jean Michel shocks his parents when he announces his engagement to the daughter of M. Dindon, a conservative politician who wants to shut down La Cage. Hoping to impress his in-laws (Fred Applegate and Veanne Cox), Jean Michel begs his father to keep Albin out sight when the in-laws arrive for dinner. When faced with this request, Albin, who has raised Jean-Michel as his own, is deeply hurt, and a combination of a heartwarming story of love and family and a hilarious comedy of mistaken identity ensues. Sweet and truly funny, it’s the stuff great theater is made of.Much of the show’s success is credited to the chemistry between Grammer and Hodge. The script informs us these two have been together for 20 years, and the actors share a give-and take-dynamic that makes the length of their union believable. When Albin becomes hysterical at one of many imagined slights, Georges’ quiet ability to calm him down reveals how familiar the situation is. Masculine and dapper, Grammer is an effortless presence onstage and truly enjoyable to watch. And Hodge’s performance as Albin brings depth to the character, firmly establishing him as a real, vulnerable and lovable person and not merely a cultural cliché. But even more than flamboyance, Albin’s defining characteristic is joy. His love for Georges, for Jean-Michel and for performing is apparent every moment he is onstage. Hodge’s loving performance of “The Best of Times” brings sincere pleasure to a number with undeniably clichéd lyrics.But it is Hodge’s defiant, riveting performance of “I Am What I Am,” the end to Act One, that defines his performance and this entire production. Transforming a single song into a devastating emotional journey, Albin isn’t just declaring his identity; he is inviting the audience to witness how hard it is to be him. And it is hard. He isn’t proud and flamboyant; he is furious at being denied. It is impossible to take one’s eyes away from Hodge as he sings.Grammer and Hodge are joined onstage by a solid supporting cast. As Jacob, their butler/maid, Robin de Jesus delivers a scene-stealing performance, glibly twirling around the stage in whatever his costume of the moment is. Christine Andreas plays it smooth as silk as Jacqueline, their neighboring restaurateur. As Jean Michel, Shively is too stiff and uncertain to be believable as the son of these two men, but he possesses a pleasant singing voice put to use well in his one number, “With Anne on My Arm.” Elena Shaddow gives a sweet performance in the minimal role of Anne. Applegate is suitably grumpy and gruff as M. Dindon, and Cox amps up whatever she can do as his stifled wife. The six Cagettes are quite impressive while performing Lynne Page’s choreography, which is athletic, to say the least.This is quite a cast to cram on the small Longacre stage, but they fit just fine into Tim Shortall’s impressively minimal and mobile sets. The scaled-down appearance suits this show well, allowing more emphasis to be placed on the performance. Despite its predictability, the final scene, which is particularly touching, may bring a tear to your eye. Never fear - the encore will definitely bring a smile.