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La Cage Aux Folles

La Cage Aux Folles

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Regent’s Park Open Air Theatre

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

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La Cage Aux Folles

“Stephen Mear’s choreography dazzles and blinds you”

 

We live in an age where the word β€˜gender’ can spark hot debate and a furious character count on people’s twitter (sorry – β€˜x’) feed. Indeed, gender discourse has changed greatly since β€œLa 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 β€˜Cagelles’, that β€œwhat 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 β€˜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 β€œI Am What I Am”. Rejection has never been portrayed with such authenticity.

Albin’s partner Georges (Billy Carter) hosts the β€˜Cage Aux Folles’ nightclub where Albin headlines as his alter ego β€˜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 β€˜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 | β˜…β˜… | June 2023
Once On This Island | β˜…β˜…β˜…β˜… | May 2023
Legally Blonde | β˜…β˜…β˜… | May 2022
Romeo and Juliet | β˜…β˜…β˜…Β½ | June 2021

La Cage Aux Folles

La Cage Aux Folles

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How To Succeed In Business Without Really Trying

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Southwark Playhouse

HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYINGΒ  at the Southwark Playhouse

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How to Succeed

“a highly intelligent musical that lampoons modern ideas of success and ambition”

 

Just over sixty years ago the musical satire, β€œHow to Succeed in Business Without Really Trying” took Broadway by storm, winning eight Tony Awards and the Pulitzer Prize for best drama. Based on Shepherd Mead’s semi-autobiographical, humorous novel of the same name, it charts the rapid rise of J. Pierrepont Finch up the corporate ladder as he pursues his American Dream. It is inevitable that the office politics and gender assumptions are going to struggle to stand the test of time, but Georgie Rankcom’s exuberant and dynamic staging dismisses any reservations we might have with sheer razzmatazz and inventive risk-taking in the personnel department.

Gender blind casting is nothing new. In fact, it has become a bit of a paradox: the choices these days are nearly always far too deliberate to have been taken β€˜blindly’. Discussion aside, it might not always work. But in this case, it adds an essential twist – and much needed sympathy for the principal, self-obsessed characters. Gabrielle Friedman, as the scheming and deceiving Finch, is an endearing mix of opportunism, cynicism and self-deprecation; played with a twinkle as bright as their comic asides are subtle. We can’t fail to be on their side as Finch cheats, lies and manipulates his way to the top. Already at the top is the misanthropic, misogynist company boss, J. B. Biggley. Tracie Bennett grabs the role by the horns and wrestles it into a loveable beast of burlesque parody.

Everything works wonders. And it is refreshing to see that the book and lyrics are an unashamed joke, shared by performers and audience alike. You don’t need a manual to instruct you not to take this too seriously. Abe Burrows, Jack Weinstock and Willie Gilbert’s book is charged with shocking wit and pertinent observation, while Frank Loesser’s music and lyrics elevate the piece with a captivating score and libretto. But that’s a sure thing. The real success lies in the staging. Alexzandra Sarmiento’s choreography is as sharp as any knife used by these back-stabbing individuals.

But the acerbity is softened by vulnerability and sensitivity. Allie Daniel in particular, as Finch’s love interest, gives a stunning performance as Rosemary Pilkington, the secretary who yearns for his neglect and would just be β€œhappy to keep his dinner warm”. Daniel embodies comic genius and vocal virtuosity in a powerhouse of a performance. Her comic timing is matched by Elliot Gooch, who deliciously struts with camp abandon as Biggley’s nepotistic nephew intent on revenge. The quality of the singing cuts across the board, each voice given their moment in Loesser’s uplifting score which allows the characterisation to shine through. Grace Kanyamibwa comes into her own during the number β€˜Brotherhood of Man’; an uplifting mix of scat and gospel. Nobody steals the limelight as solos merge into duets, into rousing company ensembles. Bennett’s finely tuned, gravelly tones blend lushly in β€˜Love from a Heart of Gold’ with the operatic cadences of Annie Aitken, Biggley’s mis-appointed mistress and secretary. Verity Power, Milo McCarthy, Danny Lane, Taylor Bradshaw all stand out, and fall back in line again in what is probably one of the most generous and joyous companies on the London stage.

This is a highly intelligent musical that lampoons modern ideas of success and ambition, and not so modern ideas of a women’s place in the workforce, and old-school mentality. It does so with affection, not for the culprits but for the victims. β€˜A Secretary Is Not a Toy’ is simultaneously behind, and ahead, of its time in this production. The aching duet β€˜Rosemary’ is timeless, and beautiful. And the humour of the piece is brought out in β€˜Coffee Break’, β€˜Been a Long Day’ and β€˜Paris Original’.

Finch may have used a how-to manual to reach success. Alas, in reality there is no handbook available to create a successful musical. But clearly this company doesn’t need one. The success of this show is pretty much guaranteed. Anyone can see that – without really trying.

 

Reviewed on 16th May 2023

by Jonathan Evans

Photography by Pamela Raith

 

 

Previously reviewed at this venue:

 

Strike! | β˜…β˜…β˜…β˜…β˜… | April 2023
The Tragedy Of Macbeth | β˜…β˜…β˜…β˜… | March 2023
Smoke | β˜…β˜… | February 2023
The Walworth Farce | β˜…β˜…β˜… | February 2023
Hamlet | β˜…β˜…β˜… | January 2023
Who’s Holiday! | β˜…β˜…β˜… | December 2022
Doctor Faustus | β˜…β˜…β˜…β˜…β˜… | September 2022
The Prince | β˜…β˜…β˜… | September 2022
Tasting Notes | β˜…β˜… | July 2022
Evelyn | β˜…β˜…β˜… | June 2022

 

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