Tag Archives: Tom Bales

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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The Sorcerer’s Apprentice

★★★

Online via stream.theatre

The Sorcerer’s Apprentice

Online via stream.theatre

Reviewed – 25th February 2021

★★★

 

“With enough spectacle, big chorus numbers and powerful performances, this show could be a contender”

 

The latest offering by the Southwark Playhouse is a musical adaptation of The Sorcerer’s Apprentice, based on Goethe’s famous poem. It’s a story probably better known to audiences as a cartoon version starring Mickey Mouse in Disney’s Fantasia, where the young Mickey attempts to emulate his sorcerer boss by casting a magic spell, and rapidly gets in over his head. Dancing broomsticks and magical mayhem on screen are accompanied by composer Paul Dukas’ memorable score. Goethe’s poem, on the other hand, focuses firmly on more troublesome themes, such as lying, and pretending to be something you are not, and how good intentions will not save you from the consequences of your own arrogance and ignorance. In the Southwark Playhouse version, with book and lyrics by Richard Hough, and music by Ben Morales Frost, an attempt is made to update the story by making the young apprentice a daughter desperate for her magician father’s approval. She isn’t arrogant, but with a typical teenager’s desire for independence, decides to flex her magical muscles before she’s quite ready. And to be fair, she has an overprotective father who tries to push her in directions she knows won’t work for her. The story is placed firmly in the north (with northern English accents) but rather bewilderingly, the location is referred to as Midgard. Before you get excited, I have to warn you there isn’t a Norse god in sight.

Perhaps the biggest problem with Hough and Frost’s version of The Sorcerer’s Apprentice is that it tries too hard to be all things to everyone. It’s an unlikely mash up of magic versus science, northern belt and braces versus southern decadence, and capitalist exploitation of the working class. Add to that an environmental theme of human exploitation of natural resources, personified in the Aurora or Northern Lights that is somehow channeling its power through the magician and his child. In short, you have a plot that goes something like Ibsen’s Enemy of the People meets Mary Poppins. Goethe, this is not, even if there is a lively chorus of dancing broomsticks.

Nevertheless, this is a musical that has audience appeal. The diverse cast is charming, with particularly strong performances from Mary Moore as Eva, the Magician’s daughter, and David Thaxton, as her father, Johan. There is a heartwarming connection between these two on stage which is lovely to see, and it helps cement the drama that evolves as the two battle the evil capitalist forces of Fabian Lyddeker (Marc Pickering) and his strongwilled mother Lamia (Dawn Hope). Thaxton in particular, brings a nice intensity to his role of a man trying to keep his daughter safe from the powers that threaten to overwhelm them both. The strengths of this musical lie in the music and lyrics, and director Charlotte Westenra stages the action in such a way that gives the singers and dancers plenty of space (in a limited space) to shine. The musicians, under the direction of Alan Williams, do a great job with the score, and don’t overpower the voices. There are plenty of comic moments for the minor characters, and Yazdan Qafouri as Eva’s lovestruck young scientist suitor, plays his part with a sweet vulnerability that is sure to win fans. The costume and set design (Anna Kelsey) miss what few opportunities there are to be spectacular, but this is a musical staged on a small stage—not ideal for a show that involves the majesty of celestial phenomena and the pyrotechnics of exploding refineries.

This version of the Sorcerer’s Apprentice really belongs on a West End stage. With enough spectacle, big chorus numbers and powerful performances, this show could be a contender. But the plot needs work. Bring back Goethe’s tough mindedness. It won’t hurt The Sorcerer’s Apprentice a bit, and it would be great to get away from the sentimentality of the Disney adaptation. Why not think Wicked meets—just about any musical with complex, morally conflicted leading characters? In a world hurtling towards climate catastrophe and battling toxic capitalism, this could be a winner.

 

Reviewed by Dominica Plummer

Photography by Geraint Lewis

 


The Sorcerer’s Apprentice

Online via stream.theatre

 

Recently reviewed by Dominica:
Bird | ★★ | Cockpit Theatre | September 2020
Bread And Circuses | ★★½ | Online | September 2020
Minutes To Midnight | ★★★★ | Online | September 2020
Persephone’s Dream | ★★★ | Online | September 2020
The Trilobite | ★★★★ | Online | September 2020
Paradise Lost | ★★★★ | Cockpit Theatre | September 2020
The Legend of Moby Dick Whittington | ★★★★★ | Online | November 2020
Potted Panto | ★★★ | Garrick Theatre | December 2020
Magnetic North | ★★★★ | Online | December 2020
Public Domain | ★★★★ | Online | January 2021

 

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