Tag Archives: Tom Slade

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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Timpson the Musical
★★★

King’s Head Theatre

Timpson the Musical

Timpson the Musical

King’s Head Theatre

Reviewed – 19th February 2019

★★★

 

“While the show is undoubtedly entertaining, it’s difficult not to wish for more thought behind the jokes”

 

We all know Timpson, the high street shop for your shoe-repair and key-cutting needs. But few know how the company came to be. The true story isn’t all that interesting: William Timpson and his brother-in-law Walter Joyce decided to go into business together. So Gigglemug Theatre have “invented a new one instead” (as their opening number goes): a musical Romeo and Juliet spoof, set in Victorian London, featuring Monty Montashoe and Keeleigh Keypulet as young lovers from two warring households.

Written and directed by Sam Cochrane and Chris Baker, Timpson: The Musical is pure slapstick. It’s a creative premise and an hour of sophomoric silliness that’s heavy on camp but unfortunately short on wit. The show’s humour is based on randomness rather than cleverness, which will work for some, but not others. ‘Keys are tiny saws!’ ‘I invented a dog door-flap, but for people! A people-flap!’ Someone runs screaming across the stage for no reason (something I’ve seen executed more successfully before). There are mimed punches and pratfalls. While the show is undoubtedly entertaining, it’s difficult not to wish for more thought behind the jokes. Some freshness of perspective would lift the comedy. Charlie Chaplin once said that the better joke is not the woman slipping on the banana peel; it’s the woman stepping over the banana peel and falling down a manhole. Timpson is a regular slip on a banana peel.

Although none of the songs are particularly memorable, they’re fun, and the singing is very well done all around. It’s a high-energy musical, and the actors give one hundred percent. Sabrina Messer is likeable as Keeleigh. James Stirling and Rachael Chomer are solid as Master Keypulet and Lady Montashoe. Alex Prescot (Man 1) deserves special commendation for his parody of multi-roling. Cochrane (Man 2) and Madeleine Gray (Monty) have impressive stamina. However, somehow, in a musical that is unmitigated camp, Gray’s performance is noticeably hammy. She pulls faces and leans heavily into physical and verbal jokes that are not sound enough to hold the weight. The exaggeration could use some dialling back. Regardless, the performers are all on full-force. This is not a show that will have you surreptitiously checking the time.

The audience last night exemplified the divisiveness of Timpson’s humour: one section never missed a cue to laugh, while in mine I may have heard a cricket on several occasions. A good litmus test is this: if you find the thought of keys being ‘tiny saws’ very funny, go see the show. If not, be warned that incredibly this joke is the crux of both the comedy and the story.

 

Reviewed by Addison Waite

Photography courtesy Gigglemug Theatre

 


Timpson the Musical

King’s Head Theatre until 9th March

 

 

King’s Head Theatre – winner of our 2018 Awards – Best London Pub Theatre

 

Last ten shows reviewed at this venue:
La Traviata | ★★★★ | October 2018
No Leaves on my Precious Self | ★★ | October 2018
Beauty and the Beast: A Musical Parody | ★★★★★ | November 2018
Brexit | ★★★★★ | November 2018
Buttons: A Cinderella Story | ★★★★ | November 2018
Momma Golda | ★★★ | November 2018
The Crumple Zone | ★★ | November 2018
Outlying Islands | ★★★★ | January 2019
Carmen | ★★★★ | February 2019

 

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