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La Cage Aux Folles

La Cage Aux Folles

★★★★★

Regent’s Park Open Air Theatre

LA CAGE AUX FOLLES at Regent’s Park Open Air Theatre

★★★★★

La Cage Aux Folles

“Stephen Mear’s choreography dazzles and blinds you”

 

We live in an age where the word ‘gender’ can spark hot debate and a furious character count on people’s twitter (sorry – ‘x’) feed. Indeed, gender discourse has changed greatly since “La Cage Aux Folles” opened on Broadway four decades ago, at the time breaking many barriers by becoming the first Broadway musical centred on a same sex relationship. So much so that Tim Sheader’s current staging lays itself open to accusations of being dated. And yet, the production rebuffs all of that and rises way above it. There is no question of discussion, or of dissecting its relevance and resonance today. It is simply a celebration. One that is bursting with pure joy and spectacle – full of hope and other sentiments that belong to the human heart irrespective of the rhythm it beats to.

From the overture to the finale, we are drawn into the world of these larger-than-life characters. We are told from the off, by the deliciously diverse and garish troupe of ‘Cagelles’, that “what we are is an illusion”. Illusion or not, they are magical. As is every other aspect of this authentic, feel-good show that, deep down, honours old fashioned and revered values of loyalty, family, solidarity and acceptance. It is only in retrospect that this analysis becomes clear – at the time we are just swept along by the warm tide of music and dance.

Set in 1970s St Tropez, it is more ‘Prom, Prom, Prom!’ than French Riviera. Colin Richmond’s eye-catching set captures a fading grandeur that stands proud against the evening backdrop but when you get up close you see the peeling walls and mildew, reflecting the by-gone era and authenticity that refuses to be glossed over. Pan out again and Stephen Mear’s choreography dazzles and blinds you. The ensemble is ever present, watching from the wings; smoking, laughing, winking or yawning. But when they emerge and take centre stage their dance moves are fearless, faultless and simply stunning.

 

“The laughter and the pathos are continually battling to steal the limelight, but they end up in a glorious double act”

 

Jerry Herman’s score is at once recognisable and stylishly fresh. The intellect isn’t overburdened, but the passion and romance are loud and clear. As the first act closes, we almost feel like we have reached the grand finale as Albin (Carl Mullaney) delivers a searing, defiant and heartfelt “I Am What I Am”. Rejection has never been portrayed with such authenticity.

Albin’s partner Georges (Billy Carter) hosts the ‘Cage Aux Folles’ nightclub where Albin headlines as his alter ego ‘Zaza’. Along with George’s son Jean-Michel (Ben Culleton) from a brief dalliance with the now absent biological mother, they form the most unconventional conventional family unit imaginable; supplemented by in-house maid/butler Jacob (a show-stealing, mesmerising, gender-fluid Shakeel Kimotho). Loyalties are stretched to breaking point when Jean-Michel announces his engagement to Anne Dindon (Sophie Pourret). Her father is head of the ‘Tradition, Family and Morality Party’, whose goal is to shut down the local drag clubs, of which George’s is the flagship. Albin is persuaded to absent himself for the upcoming visit of Anne’s parents, the consequences of which inform the hilarious and farcical second act.

The laughter and the pathos are continually battling to steal the limelight, but they end up in a glorious double act. The chorus line moves as one, yet each member’s individuality shines through. Although the plotline is a touch on the thin side, it is fleshed out by Harvey Fierstein’s witty script and, of course, Herman’s music and lyrics. But what really brings the house down is the talent on display, the presentation, and the sheer flamboyance of the performances – all of whom deserve mention. There is no roof at the open-air theatre, but by curtain call there wouldn’t have been anyway: the standing ovation raises it way out of sight.

 


LA CAGE AUX FOLLES at Regent’s Park Open Air Theatre

Reviewed on 11th August 2023

by Jonathan Evans

Photography by Mark Senior


 

 

Previously reviewed at this venue:

 

Robin Hood: The Legend. Re-Written | ★★ | June 2023
Once On This Island | ★★★★ | May 2023
Legally Blonde | ★★★ | May 2022
Romeo and Juliet | ★★★½ | June 2021

La Cage Aux Folles

La Cage Aux Folles

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Aladdin

Aladdin

★★★★

Cambridge Arts Theatre

Aladdin

Aladdin

Cambridge Arts Theatre

Reviewed – 7th December 2021

★★★★

 

“a super night’s entertainment to be enjoyed by all”

 

The Producer before the start of this show asks the audience to ‘go ballastic’ and the packed house duly obliges, knowing just when the right times are to boo and cheer, and gives the show a worthy ovation at the end of the evening.

And I am not surprised, for this is a wonderful family show, directed by Michael Gattrell, and performed by a very strong cast. The singing is powerful, the dancing is energetic. There isn’t a great deal of plot or tension, but this is panto! The show programme offers just a ten-sentence plot synopsis but there is so much more going on here and for those expecting a show within the tradition of Christmas pantomime, this production ticks all the boxes.

Matt Crosby as Widow Twankey sets the standard for the show. Batting his over-large eye lashes in a rendition of “Hanky-Panky” (it rhymes with Twankey!), he sings in confident gravelly bass tones, and we know we are going to be in safe hands.

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Aladdin (Carl Au) is a wide-eyed dreamer with a Scouse accent. Both Au and Isaac Stanmore as Wishy-Washy, in a delightfully over-the-top performance, show cheeky charm and play well together. A messy laundry slapstick scene involving Twankey and Wishy-Washy is a highlight of the evening for many.

Rolan Bell as Abanazar devilishly milks his inner villain, declaiming rhyming couplets in velvety tones. Flashes and smoke bombs welcome his every entry.

Princess Poppy (Megan-Hollie Robertson) is the necessary love interest but she and Aladdin need to work a little more on their spark if we are to believe in their secret love.

The all-important Genie is played by Jak Allen-Anderson as a very tall, acrobatic game show host whilst Aiesha Pease is The Spirit of the Ring who helps move along the plot and enjoys some powerful soul numbers.

All the principals get their own moment in the spotlight in this show and all sing brilliantly. Au excels in his ballad as he flies on the magic carpet to rescue the Princess. There is some nice stage craft here too though Aladdin needs to relax more into it. The most surprising turn of the evening is Abanazar’s rock inspired solo “I Want it All” but the standout song of the show, amongst several contenders, is Poppy’s poignant solo as she looks to find the confidence to start living her life, beautifully performed by Robertson.

The stage comes alive in each of the full ensemble numbers. With music from a live four-piece pit band (Musical Director Dean McDermott) and singing reinforced by a six-strong ensemble led by the ever-smiling Dance Captain Hettie Pearson, the dance choreography by Kevan Allen is effective and performed with high energy throughout.

Writer Al Lockhart-Morley provides an engaging script with strong and funny repartee. There is a small amount of innuendo for the older ones in the audience to knowingly chuckle at, but this show isn’t smutty. And there are no politics either. Otherwise, with just a few references to lockdown, there is an endless flow of the corniest cracker jokes, puns and amusing word play. Gently mocking references to local Cambridge amenities draw appreciative laughs.

This production is a super night’s entertainment to be enjoyed by all. Princess Poppy says at one point, “it is incredible, but it isn’t true” and that could apply to this whole idea of pantomime. But this is the season for it, and that is just fine. Oh yes, it is.

Reviewed by Phillip Money

Photography by Richard Hubert Smith

 


Aladdin

Cambridge Arts Theatre

 

Previously reviewed at this venue:
Absurd Person Singular | ★★★ | September 2021
Copenhagen | ★★★★ | July 2021
Dial M For Murder | ★★★ | October 2021
Tell me on a Sunday | ★★★ | September 2021
The Good Life | ★★ | December 2021

 

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