Steadstyle Chicago
May 2009 Theatre Review by Joe Stead
La Cage aux Folles
It's feeling a lot like 1984 these days with three of that year's Tony nominees, "Sunday in the Park With George," "Baby" and "La Cage aux Folles" being revived on Chicago area stages. These three works give a good idea of the range of contemporary musical theatre: a serious work about the process of creating art, a modern look at parenting, and an old-fashioned song and dance extravaganza with a twist. "La Cage" was Composer and Lyricist Jerry Herman's last paean to "the simple, hummable show tune" and playwright Harvey Fierstein's comedic love story involving a non-traditional family dilemma.
Even with its feathers and spangles and transvestite chorus line, the original production barely allowed its male leads to touch hands let alone show any affection for one another. The original stars wrote acknowledgements in the playbill to their wives and families, ensuring Americans' perception of "masculinity" was left unharmed. This was just pretend, folks! The present revival by the splendid Bohemian Theatre Ensemble at Theatre Building Chicago feels much more genuine. As Albin says, "This is all about love," and indeed love knows no gender. Those notorious and dangerous Les Cagelles proudly sing "We are what we are, and what we are is an illusion".
Albin and George are the "parents" of a young man who announces he is engaged to the daughter of a right wing politician who could make Pat Buchanan look liberal. Albin, also known as Zaza, the headliner of St. Tropez's most notorious drag club, has raised Jean-Michel like a mother but is suddenly an unwelcome presence. Beneath all the glitz is an unabashedly old-fashioned tale of family values and unconditional love. "La Cage" is a romance filled with terrific laughter befitting its roots in French farce. It faithfully follows the original French film and its later Americanized imitator "The Bird Cage".
Director Stephen M. Genovese has wisely played the characters as human beings rather than caricatures, and the big payoff comes in Albin's "I Am What I Am" and the second act "Look Over There," sung first by Georges and later Jean-Michel to his "mother". It is in these moments I remember why "La Cage" is one of my favorite of all musicals. The crucial scene where Georges explains to Albin that he is not wanted at the engagement party is vital here. Normally the actor playing Albin is hidden behind a dressing screen, but here we see his reaction clearly, the betrayal and the pain. And when he emerges tearfully to finish the show as ZaZa, those emotions powerfully pave the way for his anthem of pride and identity.
The Boho staging has style, wit, dazzle and unforgettable performances. But there is also an enormous heart beating beneath the glitter. And Genovese and his cast do it full justice. In the intimacy of the Theatre Building, they actually improve on the original New York, touring and revival productions, proving my belief once again that anything Broadway can do, Chicago artists can do better!
In the musical's showiest role, Albin and his alter-ego ZaZa, Kevin Bishop is a revelation. In "A Little More Mascara," we see him totally come alive with the addition of feminine apparel. No more is he the meek and mousy Albin, but the fabulous diva ZaZa. Bishop is utterly in command of the various nuances of his role, he sings with assurance, and he looks smashing in Michelle Julazadeh and Stefin Seber's spectacular costumes. In short he is a triumph. And Michael Kingston makes a most gallant and supportive partner as his lover of 25 years, Georges. Kingston shows real anguish and affection for Albin.
Boho's production only offers five Cagelles in place of the original twelve, but what a show those five put on. Stephane Duret, Ryan Lanning, James Nedrud, Caryn Ott and Galen Schloming make one fabulous chorus line. There's less uniformity but more individualized personalities that emerge, and they do Choreographer Christie Kerr proud from rousing tap dance to a raucous can-can.
Ryan Guhde is a wacky French maid/butler, Patrick Tierney and Kristine Burdi shine as the young lovers, Tom Shea is practically Rush Limbaugh incarnate as the prospective father-in-law, and Debbie DiVerde is delicious fun in the small role of restaurateur Jacqueline. This is no doubt the most lavish production in Boho's history, and it shows in every detail. It's a genuine bargain for anyone who loves musical theatre and a boon to everyone who can hold their head up and say "I Am What I Am".
"La Cage aux Folles" plays through July 11, 2009 at Theatre Building Chicago, 1225 W. Belmont Avenue in Chicago. The show runs 2 hours 30 minutes with intermission. Performances are Thursdays, Fridays and Saturdays at 8:00 p.m., 3 Saturday 4:00 shows on 6/20, 6/27 and 7/11, Sundays at 6:00 p.m., no shows July 4. Tickets are $22-$27. Call the box office at (773) 327-5252, visit Ticketmaster or www.bohotheatre.com.
About Joe Stead
Joe
Stead has enjoyed a lifelong passion for the theatre, which has
involved acting, directing, producing, designing and reviewing for
the past twenty-five years. He served as founder, producer and
Artistic Director of Curtain Up Productions in Baltimore, Maryland
and Four Star Players in Tampa, Florida. Favorite productions
have included "Life With Father," "Deathtrap,"
"The Odd Couple," "The Miracle Worker,"
"Brighton Beach Memoirs," "You're A Good Man, Charlie
Brown" and "Godspell". He has also performed
leading roles in "Fiddler on the Roof," "Pippin,"
"The Phantom of the Opera," "The Front Page," and
most recently as Hucklebee in "The Fantasticks" for
Waukegan Community Players. Joe holds a degree in Commercial
Art from Tampa Technical Institute. As a critic, he has
reviewed everything from Broadway to community theatre and major
regional theatres throughout the United States including the Kennedy
Center in Washington, D.C., Paper Mill Playhouse in New Jersey,
Goodspeed Opera House in Connecticut, and the Asolo Theatre in
Sarasota, Florida.
Since 1998, he has been a proud resident of Chicago, the greatest theatre city in America. He served for two years as Theatre Editor for College News and Central Newspapers. He created the website Steadstyle Chicago in 2000 to showcase the city's outstanding and diverse theatre scene. Joe was proud to serve alongside a distinguished panel of theatre professionals as a judge for two seasons of Speaking Ring Theatre's "Vitality" Festival of original short plays. His most fulfilling role, in addition to reviewer and all-around theatre fanatic, was as director of the 2007 production of Peter Shaffer's "Equus" at Actors Workshop (now Redtwist) Theatre, which was nominated for five Joseph Jefferson Award Citations and won for Best Actor (Peter Oyloe).