La Cage Aux Folles, Glasgow King's Theatre, 25/7/17

A review written for Backstage Pass:

http://www.backstagepass.biz/2017/07/theatre-review-la-cage-aux-folles-kings.html

Some theatrical experiences should be on social prescription, to be experienced by those who should heed a message or those who require a dose of joy in their lives. La Cage Aux Folles is such an experience and it is one of the most outstanding pieces Bill Kenwright has produced for many a year; done with such panache and flair. But it is also a welcome reminder in a period of political upheaval that the message of tolerance and acceptance should not be discarded. Nor the ultimate legend to "live and love as hard as you know how". Perhaps it is fate, given this is the first ever UK tour of a classic musical which originally premiered in the 1980's:

By night Albin is 'Zaza' the star of the St Tropez drag club, La Cage aux Folles, run by his partner, Georges, whose son from a one-night fling, Jean-Michel, returns home to announce his forthcoming marriage to Anne, whose father, right-wing politician Dindon, advocates against non-heterosexual 'lifestyles' and for a return to so-called traditional values. More upsetting is that Jean-Michel requests his father and biological mother act as a couple and that Albin be absent for the meeting of the two families, despite Albin having raised him as his own alongside Georges. The repercussions of this announcement form the central crux of a musical which radiantly promotes positive ideas of family and love.

Harvey Fierstein's book remains as relevant, as funny and as moving as ever and Jerry Herman's score remains one of his best, replete with numbers ranging from the most showy of show-stoppers to the most tender of ballads;  the glorious songs include the call to seize the moment of "The Best Of Times", the romantic "Song On The Sand" and the soul-stirring "Look Over There". And of course La Cage contains one of the most anthemic numbers ever composed for the stage in "I Am What I Am".

The direction is fluid, tight and focused, retaining an air of innovation, and the comedy and chaos is controlled whilst simultaneously appearing to be free of restraint. The choreography is also perfectly attuned to scenes both within the club and outside of it and show the Cagelles in their full force.

The design is a glorious visual treat, from the glamorous costumes to the chic settings that smoothly transition from one scene to the next, and it is yet another stand-out aspect of this truly outstanding production.

John Partridge is electrifying as Albin/Zaza, a role he inhabits completely, and he is outrageous, hilarious and emotionally heart-breaking in turns. His full, rich voice is put to great use throughout the show as is his enterprising physicality.

Not to be outshone, Adrian Zmed is a suave, calm and collected Georges who eloquently keeps the madness about him in check. His relationship with Partidge's Albin is at once honest, believable, tender and affectionate and Zmed is a welcome addition to the British stage.

Stage stalwart Marti Webb lends her thrilling vocals and charm to the small but vital role of Jacqueline whilst the Cagelles are thrillingly dynamic and varied, always entertaining in whatever scene they appear simultaneously exuding a palpable energy beyond the footlights.

Entertaining, thought-provoking and gloriously staged, La Cage Aux Folles is one of the most impressive productions to have toured the UK in recent years and remains one of the most relevant and timeless of musicals. Grab a ticket and enjoy!

"La Cage Aux Folles", Edinburgh Playhouse, 7/3/17

Despite premiering in London in the 1980s, this is the first ever UK tour of Jerry Herman and Harvey Fierstein's "La Cage Aux Folles". Following its West End transfer, the Menier Chocolate Factory production of a few years back was rumoured to tour but this, sadly, never happened. Now Bill Kenwright has taken the lead and produced a first class production, taking a risk on a title that has little track record outside of London, but one that more than delivers. What prompted Kenwright's decision I do not know but the production is more than welcome and especially timely given the politically volatile times we live in.

The musical tells the story of Georges, owner of St. Tropez cabaret club La Cage aux Folles, whose son, Jean-Michel, returns home to announce his impending marriage to Anne, daughter of right-wing politician Edouard Dindon, who seeks to close the nightclubs and restore 'tradition' values. Georges raised Jean-Michel with his partner Albin, whose alter-ego is Zaza, star of La Cage aux Folles. In an effort to win favour from his potential parents-in-law Jean-Michel requests that Albin make himself scarce when the Dindons arrive to meet his family. The tension and emotional turmoil that follows forms the crux at the heart of a story which illustrates how a solid family is formed by those sharing love and respect for each other, as demonstrated in Herman's beautiful song "Look Over There", and that as different as people may at first appear to be, in reality they share many similarities. 

There is some light trimming of Herman's score, which remains one of his finest, and some minor tinkering with Fierstein's book but these are not detrimental but, rather, serve to update and focus some details and both Herman's songs (including the anthemic "I Am What I Am", "The Best Of Times" and the lush "Song On The Sand") and Fierstein's book remain as entertaining, witty and as potent as ever. 

Director Martin Connor makes some brave choices, including ad-libbing and asides, and maintains a fluidity throughout whilst the choreography by Bill Deamer is attuned to the scenes in which they take place, be they 'onstage' or off, and further the quality of the production. The set and costume design of Gary McCann is exquisite and is elegantly complimented by the lighting. Where the previous Menier Chocolate Factory production took the lyrics of the title song as indication of the second- or even third-rate nature of the club, here the club's design is untarnished glamour and the production numbers, whilst retaining an element of the less-than-perfect, are first rate. Here the title number is performed with a wink as if something of an ironic joke about the nature of the club.
The orchestrations are surprisingly effective and the musical direction of Mark Crossland is on top form. Which is fortunate, given that Zaza keeps him on his toes.

This production appears to fuse time periods with 70s design elements working alongside modern ones, and this creates an impression of the timelessness of the piece, of how relevant its message is now as when the original Jean Poiret play was written. The variety of accents heard across the characters also illuminates the idea of inclusion, that the human story, regardless of where we originate, involves us all.

Another strong aspect of the production is the casting, led exceptionally by John Partridge as Albin/Zaza whose rich, silky vocals, at times sexually husky, deliver Herman's melodies and lyrics with ease, with every syllable imbued with purpose. His physicality is dynamic yet controlled and he moves effortlessly in heels (not for the first time as Partridge previously appeared as Marilyn in Taboo). As the emotional dynamo of the production he is adept equally in the intimate scenes as he is in his flamboyant scenes as Zaza where he ad-libs profusely, breaking the fourth wall occasionally - something that could threaten to derail the momentum of a production but which, here, becomes part of Zaza's magic. This is a role that Partridge was born to play and he makes the most of every moment especially his emotionally heartbreaking, yet rousing, performance of "I Am What I Am".

Adrian Zmed is a suave and attractive Georges, ever the calm at the centre of the storm that revolves about him. His relationship with Albin is tender, loving, never feels artificial and together they create an impression of emotional history and connection that maintains their relationship, replete with a palpable chemistry. Diametrically opposite to the wild nature of Albin, Georges is a necessarily solid, dependable character who might come across as dull, but that is not the case in Zmed's capable hands (and vocals) and he is as engaging and as charming as is possible and establishes himself as one of the many joys of the production.
The Cagelles of the company are unique, vivacious figures who lend sterling support, whether in the club numbers or not, and each promotes a strong presence when they appear and they dance and sing with sublime enthusiasm. The fact they can create individual characters within the confines of ensemble performance is a credit to each of them.
Marti Webb's Jacqueline may be relatively small role but it is an important one and Webb lends her powerful and impressive voice to the production and she is a welcome, calming, presence. Dougie Carter makes a visually and vocally attractive Jean-Michel and the Jacob of Samson Ajewole is a physical, comedic treat. Further support is excellently provided by Alexandra Robinson's Anne Dindon, Su Douglas' Marie Dindon and, as right-wing politician Dindon, Paul F Monaghan who, together, form the counterparts to the less traditional family of Georges, Albin and Jean-Michel.

A lively, thrilling, emotional, uplifting, joyously vibrant musical that proclaims 'we are what we are' and that that is more than okay, La Cage Aux Folles still retains an impact that is as credible, and as vital, as when Jean Poiret wrote his original play back in 1973. This vivacious production serves the material exceptionally well and is an example of the best of theatre at a time when entertaining, powerful stories need to be told and need to be seen and heard.

'La Cage Aux Folles', The Orpheus Club, King's Theatre, Glasgow, 23/6/12

The Orpheus Club continue their alliance with director Walter Paul who presides over an enjoyable production of the classic Jerry Herman/Harvey Fierstein show based on the original French farce by Jean Poiret.

Led by Michael McHugh as 'Georges' and Jim McPhee as 'Albin' the cast are generally very good but it's certainly these two leads who stand out, together with Sean Stirling camping it up as 'Jacob' and Jamie Walker whose brief moments onstage as 'Francis' with his amusing minor sub-plot involving a somewhat vigorous love-affair are highly amusing. Much of the humour comes from the dated types presented but this being a farce it matters so little. McPhee as 'Albin/Zsa Zsa' embodies memories of several of the greatest drag artists including Danny La Rue, Dame Edna Everage and there is even a bit of John Inman thrown in for good measure.

Neil Thompson's musical direction is assured, despite a trumpet player being a little off-key at times, and he brings out some quality vocals from the cast. Preston Clare's choreography becomes a little repetitive at times but is nonetheless enjoyable.

As for Walter Paul's direction well, I have never been a fan of the man's work, finding him a competent director at best. This show is the best I've seen him, no doubt being aided with a fine score and libretto by Herman and Fierstein respectively.

That said he is still an uneventful director who relies too much on stale, safe staging which renders some scenes verging on the dull, relying on the same set-up time and time again - fortunately the cast refuse to let this happen. Paul is also guilty of often ignoring logic and reason not to mention detail and the director has also yet to truly deal with scenic transitions: He allows the story's flow to stop to have scenery moved when there is no need: Any director worth his salt would rectify this with clever staging and distraction. If this is truly unavoidable then a director should make something out of the scene change and the closest Paul gets here is in the transition to the Restaurant where the crowd create something to watch and look at while the locale is changed. Such peaks are rare where this director is concerned although the final image of Act One where the back-cloth is raised to reveal the real backstage area of the theatre creating a beautiful image of light and shadow as 'Albin' walks away, toward the paraphernalia of artifice, from 'Georges' after being told the reality that he is surplus to requirements. It is worth noting that here the lighting reaches a peak amongst the otherwise fine lighting of Rod Littlefield.

All in all a very enjoyable production where the sum of all its parts came together to create something worthy of viewing.