Music & Lyrics: Jerry Herman
Book: Harvey Fierstien
Director: Terry Johnson
Choreography: Lynne Page
Reviewer: Sue Neale
Well, I stayed awake throughout the whole show! That may not seem too great a feat to others, but, once in the womb-like cocoon of a warm, dark theatre, I am usually asleep within 10 to 15 mins. Not this time! The opening chorus line of gorgeous “girls” crashed over me like a gigantic wave at the beginning of the show and, from then, onwards, I was hooked! ……it was a great night out and thoroughly to be recommended.
I must admit, I had been somewhat apprehensive at the thought of the homosexual theme and of men in drag but all my apprehension was soon dispelled.
The story of La Cage aux Folles is based on the 1973 play by French playwright Jean Poiret and, in this adaptation for the stage, is treated with (and I believe, received with) humour, respect and pathos. I can well imagine that this would not have been the case in the mid-70s/early 80s when the gay scene was not accepted as a normal part of life as it is today. In those days, it would have been very risqué to go to see such a show, and, I dare say, the audience then would not have been as diverse as the one I sat amongst! The latter ranged from young couples to old ladies from Essex, all thoroughly enjoying the show. Two elderly couples next to me were singing along to many of the songs – and they knew all the words! Is there a cult following I asked myself (as with The Rocky Horror Show, for example; however, I didn’t see any feathers or spangly costumes in the audience – so maybe not.)
La Cage is about standing up for who you are and being true to yourself; it’s about love and loyalty, it’s about family values and parental affection, with a running joke of sexual identity, and a magnificent chorus line of drag queens. It also has depth beyond the obvious: at its inception in the early 80s, it was, and has remained, one of the “greatest socio-political musicals of our era”.
La Cage aux Folles is a transvestite nightclub in St Tropez, where Georges (played by Denis Lawson) is the MC and Albin (played by Douglas Hodge), his lover of 20+ years, is the star turn at the club. Between them, they’ve raised a much-loved son, Jean-Michel, the produce of Georges’ one-night stand with a woman (ugh!) some 25 years ago, and J-M now wishes to marry. Problem is, his fiance’s father is a right-wing politician determined to close down the ‘colourful’ local nightlife. So, when the prospective in-laws are about to arrive for dinner, drastic action is need to cover up the true nature of J-M’s ‘parents’ and present a traditional family life with a father and a mother. They try to solicit the help of the original biological mother, but she lets them down at the last minute.
When Albin is told to keep out of the way totally and he catches Georges and J-M moving his things out of the flat, he is so dreadfully wounded. At this point, there is a real sense of pathos and empathy from the onlooker, the old “filial ingratitude” being a universally concept. We so feel for Albin as he displays his vulnerability and failing confidence in his relationship with Georgs, and indeed with J-M. After all those years of loving J-M and making so many personal sacrifices for his well-being, and this is how he repays his ‘mother’! It almost brought a tear to my eye at this point (… almost!). The compromise is stuck, however, that Albin will become old uncle Albert, dress as a man, and affect masculine mannerisms (the teaching of which by the others is hilarious). However, much to Georges’ and J-M’s surprise (and not a little trepidation), Albin appears at the dinner dressed as a very conservative, ‘Home Counties’ type mother, and almost carries it off – must not give a way too much.
Denis Lawson and Douglas Hodge played their roles magnificently and, I must admit, I was truly impressed with their singing and dancing capabilities. Hodge’s brief impersonations of Piaf and Dietrich were highly entertaining.
Paula Wilcox , Tracie Bennett and all the other supporting roles did a magnificent job,. in particular a young black guy called Jason Pennycooke (playing the butler/maid, Jacob). He didn’t have to speak to make you laugh – his mere presence, his whole being and effeminate physical antics were hilarious, but, here again, there was pathos in his burning desire to be part of the dance troop and never quite making it.
All of these characters are so feasible, so endearing; they transport us to a world which feels so right, so normal. We laugh with them and we cry with them; in no way are our sensibilities offended.
The dancers are truly superb and frighteningly convincing! They are vigorous, athletic, and yet graceful when necessary. Their costumes are straight (excuse the pun!) out of the Folies Bergère and Moulin Rouge – fabulous, in its true sense!
Go and see it – you will not be disappointed.
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