"La Cage Aux Folles" - Court Theatre, Christchurch

When I saw an advertisement for "La Cage Aux Folles" in "Older But Bolder" (despite its promising title, basically a newspaper for retirement homes) I said 'I've GOT to see that!' I became very fond of the show when DMTC did it aout a year ago.

The Court Theatre is apparently one of New Zealand's few fully professional theaters, and many talented performers come to perform there.

The 350-or-so person house was packed to capacity when I arrived (6 p.m. show, Dec. 18). I sat directly at stage-side (center section, stage left, right at the inner corner). Ordinarily, this might be a bad seat, because of the overwhelming aspect of being almost on-stage, but since I knew the show already, this was the next best thing to being where I really wanted to be (which was on-stage). An interesting theater - set pieces can be brought on and off stage by rail.

Here are excerpts from a preview by reviewer Lindsay Clark:

Director Sandra Rasmussen cast many performers from 2007's smash hit THE PRODUCERS and recruited veteran performers including Rima Te Wiata, Paul Barrett and recent Arts Foundation of New Zealand Laureate George Henare to create a company she describes as "one of the best musical casts in the country."

...Musical Director Richard Marrett has a high regard for LA CAGE AUX FOLLES' music. "Jerry Herman (who also composed the scores for Mame and Hello, Dolly!) has an unparalleled gift for melody that shines through in this show" says Marrett. The Court's production uses a mixture of live and pre-recorded local musicians to match live performance and create the "big sound" essential for production numbers. The result is "the best of both worlds" according to Marrett.

Based on Jean Poiret's 1973 play, the musical's debut production in 1983 - staged during "the last great Broadway season", according to theatre historian John Kenrick - overcame strong competition to win six Tony Awards including Best Musical, Best Score and Best Book. A 2004 revival earned LA CAGE AUX FOLLES another two Tonys. One of the show's songs enjoyed mainstream success when a single of I Am What I Am by Gloria Gaynor became a commercial hit and pride anthem.

"When the musical was released AIDS was a major issue and homosexuality much more marginalised, so LA CAGE was very brave," says Rasmussen. "In a 'post-Priscilla' world I want to show the cracks in the make-up - glimpses into darker aspects of the world LA CAGE portrays". The costumes, designed by Elizabeth Whiting and constructed by a team of ten wardrobe staff, promise a visual spectacle rarely seen on stage.

Rasmussen is quick to point out that "beneath the frills and feathers, this is a love story about a relationship that anyone would want to have." In LA CAGE AUX FOLLES, Georges (Paul Barrett) and Albin (George Henare) have lived happily together for years as the proprietors of the titular cabaret club, with Albin performing nightly as Zaza, the star drag act. When Georges' son, Jean-Michel (Jonathan Martin), announces his engagement to Anne (Zara Cormack) - the daughter of a politician and moral crusader who wants to shut down their club - the efforts by Georges to "play it straight" leads to farcical comedy with a message: that "we are what we are and what we are needs no excuses".

Here are excerpts from the opening night review by Lindsay Clark:

It is very tempting to launch directly into a catalogue of superlatives for this production - 'fabulous' and 'ravishing' come straight from the show itself. The Court's annual launch into lush musical theatre for the holiday season, sponsored by The Press, has become a highlight of the year's entertainment for the city.

Applause will be long and heartfelt for this choice if the standing ovation that erupted on the opening night is anything to go by. The team of Rasmussen and Marrett has done it again, with a cherry on top!

The plot line has not moved far from the original play, though there is less surprise at seeing a homosexual relationship at the heart of the story. La Cage is a nightclub in the South of France where gorgeous transvestites light up the works. Its manager, Georges and his long term partner, its star, Albin, find their world seriously threatened when 'their' son Jean-Michel becomes engaged to the daughter of a bigwig in the Traditional Family Morality Party, who with his wife in tow comes to visit.

...The Court's creative team, especially indefatigable Tony Geddes, responsible for the multi-functioning set, and Elizabeth Whiting, creator of glorious costumes, are called on to support a large, diverse cast and their collective imagination is irresistible. The vibrant studio orchestra matches them all the way.

...In the focal pair, as Georges and Albin, the experience, art and musical instincts of Paul Barrett and George Henare are a joy to witness. The relationship is beautifully established to underpin developments without sacrificing the razzmatazz or, for that matter, the wash of sentiment we expect and enjoy in musicals. Henare has truly moving moments of triumphant defiance and vulnerability which catch the breath before the smile can start.

Jonathan Martin as the cataclysmic son goes from strength to strength on this stage and Keith Adams has all the physicality and style to endow Jacob (who wants to dress up for real on the stage as well as behind the scenes, with more than comic function.

I enjoyed the show very much. Paul Barrett and George Henare make an excellent Georges and Albin. Jonathan Martin as Jean-Michel has a wonderful voice and Keith Adams makes a superb Jacob - dark, alluring, tall, shapely, physical - just excellent!

The stage is rather small however, and thus the dancing extravaganza that "La Cage" should be at its best had to be pared down for the space available. Significant sections of dancing were cut altogether, and the approach that the dancers make to the audience was cut as well.

Some things I like very much. The dancers hold screens and placards in "Mascara" to make a set of curls, eyelashes, and eyes: a face!

Getting the sensibility right for shock value is important in this show. The rude gesture with the feather duster in the sequence "Thees for me and THAT for you, and papa gets the best parts!" worked very well. Georges' body gesture in "And I'll be behind you with a broomstick all the way" was unnecessary and works better if understated, and not gestured.

The costuming was a bit strange (well, it IS a strange show), and I was puzzled by Georges' high collar, gloves, and boots. But I liked the idea of Georges in mostly black and Jean-Michel and Anne entirely in white. Alternating light and dark worked well, in general. I think the costumes should have been more glitzy, however.

And I was surprised by the (comparatively) light makeup (excepting Jacob, who got it about right). Glam it up folks, if at all possible! And Hanna, who looked halfway towards a Motley Crue or Van Halen sort of look - go with it!

The two featured women dancers were excellent. I liked Phaedra too. The cafe as a barrista's cart worked well (although the name was altered from the script).

There was slight updating of the script "Puffing pot and listening to rock-and-roll" became "Puffing pot and listening to heavy metal".

Altogether (apart from the cut dancing), a satisfying experience!