How’s this for an idea for a musical? A man named Georges runs a glitzy nightclub on the Riviera, called La Cage aux Folles. His partner, Albin, sings at the club as the diva Zaza. Together the men raise a child, Jean-Michel. When the grown son wants to marry his girlfriend, Anne, her parents — who represent a political movement that condemns homosexuality — unwittingly become involved in the Cage aux Folles world. Since Jean Poiret wrote that play in 1973, it’s been a hit several times over on Broadway and in film. Now a lively new production of “La Cage aux Folles” is at the Kennedy Center, starring George Hamilton and Christopher Sieber, as Georges and Albin, respectively.
Director Terry Johnson emphasizes two important elements of Harvey Fierstein’s book: its surface humor and three love stories that propel the plot, between Georges and Albin, between Jean-Michel and his parents and between Jean-Michel and Anne. The music and lyrics by Jerry Herman underscore the plot’s emotional nuances and fireworks, providing everything from gentle love songs to powerful celebrations of self.
| Onstage |
| ‘La Cage aux Folles’ |
| Where: The Kennedy Center, 2700 F St. NW |
| When: Through Feb. 12 |
| Info: $65 to $130; 202-467-4600; kennedy-center.org |
The cast is uniformly excellent. Although a stronger personality than singer, Hamilton has just the right suave appeal that allows him to be credible as the cool, unflappable master of ceremonies at La Cage. Sieber plays Albin as Georges’ polar opposite: emotionally overwrought, high-strung and larger than life when in character as Zaza.
Sieber has a tremendously flexible voice and great range. In one song he begins in a pretty soprano and finishes in a powerful baritone. He even pulls out a basso profundo or two when he needs to. Equally important, he’s a master comedian and provides about 90 percent of the show’s humor.
The setting of “La Cage” is almost a character itself. The nightclub is famous not only for Zaza but also for “Les Cagelles,” the six fabulous dancers/singers/gymnasts (Matt Anctil, Logan Keslar, Donald Shorter Jr., Mark Roland, Terry Lavell and Trevor Downey) who transform themselves into showgirls and perform with Zaza every night. Individually they’re extremely talented. Together, they’re extraordinary.
Tim Shortall’s set creates a proscenium within the Eisenhower Theater proscenium as a reminder that La Cage is well removed from reality. Matthew Wright’s costumes are breathtaking mixtures of feathers, glitter and color. Lynne Page deftly choreographs the musical’s busy pace, creating unforgettable visible patterns for one, two or 12 characters.
With its abundant humor, energizing music and lyrics, and the power of its multiple love stories, this “La Cage” has the depth and breadth to allow it to suggest that, although it takes place in an unrealistic setting at an unspecified time, its happy ending could happen anywhere in the real world today.
