Theater Works' La Cage Aux Folles
(out of 
)Mark S.P. Turvin
(home office) (602) 912-0117
I can be reached for comment via e-mail at: mspt@goldfishpublishers.com
Reviewed 2/12/00
(out of )It's been made into two movies and a sequel, an obscure play, and a musical. The hilarious plight of Georges and Albin, as they must deny their association with each other and their infamous drag nightclub to satisfy the moralistic father of Georges' son's fiancé, is pretty much common knowledge by now. The musical's songs, such as "I Am What I Am" and "The Best of Times" have become Broadway standards. La Cage Aux Folles has become mainstream enough to be playing to full houses on Sun City's doorstep. Theater Works is mounting a show whose subject matter would ordinarily send snowbirds flying and bluehairs running. In the process, they're proving that expanding minds can be a profitable business, too.
And who better to direct this romp through love and illusion than Jim Linde? His two turns directing IMCo's gender-bending summertime success, Pagaent, have obviously given him insight that he has brought to Jerry Herman and Harvey Fierstein's piece. While this production does have its slower moments and miscasting, it still makes this difficult and flawed musical work, which is an achievement in itself.
On the upside, Mr. Linde's staging and Robert L. Harper's choreography are wonderful. There is never a missed opportunity for a great stage picture or a funny dance routine. At the center of the play, Ron Jennings gives a superb performance as the put-upon Albin, who sings some great torch songs, piles on the hilarious bits, and delivers the seminal "I Am What I Am" at the end of the first act perfectly. He is surrounded by an ensemble of gals who do a great job differentiating their separate roles, most notably Greg Marzullo as songstress Chantal and R. Scott Harnisch as dominatrix Hanna from Hamburg. Other members of the ensemble and smaller roles also do well. A special note goes to the hilariously-over-the-top, scene-stealing Eric C. Reda as Butler/Maid Jacob, who had the energy others seemed to lack on this second night.
While the show does have its great moments and fun times, there are several things that keep it from being a great overall production. As Albin's husband and club owner, Georges, Gerald Thomson lacks the panache that makes his role such fun to experience. While it is true that he was another victim of the valley's flu epidemic when performing on Saturday night, there's a sense that his vocal hesitations even when healthy would still be enough to hamper his performance. As his son Jean-Michel, Travis Modesitt underplayed, not convincingly describing his love during the song "With Anne on My Arm," and rarely projecting. Finally, while the ensemble danced well and acted great, their energy level was very low and their singing lacked bravado, especially noticeable during the nightclub performances.
Christie McKibben's canned music track was sufficient, if not overwhelming. In what must have been a trading off of talented set designers, Stagebrush Theatre's T.J. Weltzien has worked with Theater Works' own Gregory Jaye to create a set that is better in execution than their previous work on Stagebrush's Guys & Dolls. This fluid set magically transforms from Georges and Albin's residence to the nightclub to the seaside walks of sunny St. Tropez. Scott Campbell's lighting fits these changes to a tee. Beyond a doubt, the best design offering comes from the many elaborate and perfectly appointed costumes created by Margret Emerson. Just the creations for Mr. Jennings alone are worth the price of admission.
It is quite possible that the low energy and illnesses that plagued this evening will not dampen the four week run. Any improvements in these will add to an already solid production that will send you out the doors smiling and humming.
Production
Details:
La Cage Aux Folles Music and
Lyrics by Jerry Herman, Book by Harvey Fierstein
Theater
Works, Peoria
(623) 815-7930
February 11th - March 12th, 2000