Cheyenne Jackson and Kevin Cahoon in “La Cage aux Folles.” (Photo by Jeff Lorch)
Reviewed by Steven Vargas
Pasadena Playhouse
Through December 15
RECOMMENDED
La Cage aux Follies comes to life backstage. Les Cagelles strut, twirl and cartwheel their way into costume for their big drag performance. As the layers of glitz and glamour are stripped away to reveal the musical’s core, a heart-wrenching and sincere story about embracing your authentic self surfaces.
Pasadena Playhouse’s production of the Tony Award-winning musical brings the 1983 Broadway hit to a contemporary audience. Recontextualized with the politics of today — an upcoming second presidential term for Donald Trump and a growing fight for LGBTQ+ rights — La Cage aux Follies packs a surprising punch. The star-studded cast guides the audience through constant battles for authenticity that happen behind closed doors, sharing a rocking performance that knows just when to pull at the heartstrings or wow with comedic quips — all layered with mascara and a glittery hairdo.
The musical with music and lyrics by Jerry Herman and a book by Harvey Fierstein centers on a gay couple: Georges (Cheyenne Jackson), the manager of a Saint-Tropez nightclub, and Albin (Kevin Cahoon) who also performs as Zaza, the club’s star drag performer. When their son Jean-Michel (Ryan J. Haddad) — Georges’ biological child — shares that he found the woman he will marry, the wedding comes with the unorthodox request to mask the family’s queer reality to appease his soon-to-be father-in-law who is also the conservative leader of the “Tradition, Family and Morality Party.” The combination of Jean-Michel’s flaky biological mother and Alban’s hardheaded tendencies is a recipe for disaster.
The physical comedy brought out by Sam Pinkleton’s direction heightens the musical’s world. This is particularly present in the performances of El Beh as Francis and George Salazar as Jacob. Francis is the unsung hero of every show at the club. They rush everyone to the stage with sweeping arms and quick comedic asides that help capture each personality.] Jacob is Georges and Albin’s housemaid who yearns for the stage. Salazar embodies Jacob’s affinity for performance at every second, swiftly weaving through bodies on stage for an elaborate strut in shimmering shorts or to orchestrate a perfectly timed comedic fart.
Choreographer Ani Taj balances extravagant dance moves with unified ones, allowing the Cagelles (Kay BeBe Queue, Cody Brunelle-Potter, Salina EsTitties, Rhoyle Ivy King, Ellen Soraya Nikbakht, Suni Jade Reid and Paul Vogt) to ebb and flow out of the ensemble. Taj’s approach to choreography is commendable. She allows the performers to embrace their own embodied dance practice. Brunelle-Potter introduces their expertise in contemporary dance as an abstract baby bird while King inserts elements of vogue as he grooves with the crew. The synthesis of each performer’s background offers breadth to the show’s movement.
The leading family trio strings the emotional journey together. Haddad’s performance of “With Anne on My Arm” is adorable. But the best moment is comes when Anne (Shannon Purser) appears, and he shrieks with a giddy and excited welcome. At that moment, you understand Jean-Michel’s dedication to making the relationship work, no matter how hard the ask for his father’s secrecy may be. Meanwhile, Jackson’s performance of “Song on the Sand” beautifully captures the romance that drives the narrative forward. His vocal prowess and charismatic connection with Cahoon help convince the bickering duo to have [carry/keep/retain?other?] a blazing love beneath their jests. As he leaves the stage, his crooning “la da da da” echoes with memories of passion and love.
Cahoon’s introductory song, “A Little More Mascara,” lacks power and energy, making the prolonged wait for his arrival feel unwarranted. His vocal abilities aren’t up to par with his counterpart, but he makes up for it as the show progresses with songs like “La Cage aux Follies” and “I Am What I Am.” In the former, Cahoon as Zaza turns Pasadena Playhouse into his drag venue, teasing the audience with direct callouts and making everyone participate in a unified tilt of their torsos and flutter of their hands. It’s a delight to witness conventions of vaudeville take up space in the show. Cahoon’s prowess comes in the form of his overall performance and grit.
He drops into the character of Albin when Georges informs him that he’ll have to move out for the day to make room for Jean-Michel’s biological mother. Here, lighting designer Stacey Derosier fades the lights and zooms into Albin as Georges’ ongoing dialogue haunts him. The elaborate backstage set designed by David Zinn collapses into the wings, leaving him with a bare stage for “I Am What I Am.” The perfectly unified design elements help capture Albin’s internal journey. Cahoon’s performance of the song transcends accuracy to uphold the song’s emotional weight. [The complex reaction of feeling erased is controlled and released with specificity.] I’d consider deleting this prior sentence. You’re making a professional’s observation about another’s technique but I had to read it a couple of times to get it. For the standard reader I think the subsequent statement suffices. It feels like a stab to the heart.
After building up so much emotion in Act I, Act II perfectly releases all the tension, ending in one grand finale. The show is rounded out by the world outside the theater. Edouard Dindon (Michael McDonald) is the uptight conservative leader the queer household must woo, [resulting in] [the quest for his favor generating?] a great dinner performance and a comedic painting of Jesus Christ playing football with children. The situation is packed with hilarious antics, but a profound statement about defying government censorship rests beneath it.
The show originally opened at the height of the AIDS epidemic with homophobia following suit. This time around, trans rights are on the chopping block with Donald Trump heading to the White House in 2025. In the finale, Cagelle Reid takes the stage with a shirt that says, “Drag Saves Lives.” Seeing something so simply put felt like a warm embrace — much like the entire show. Witnessing a community shuffled to the margins take center stage with a message of love and acceptance rounds ed out the impeccable performances to deliver a glimmer of hope.
Pasadena Playhouse, 39 S El Molino Ave., Pasadena. Opens Sun., Nov. 17; Tues.-Wed., Fri.-Sat., 8 pm, Thurs. 7 pm, Sun., 2 pm; thru Dec. 15. https://www.pasadenaplayhouse.org/event/la-cage-aux-folles/. Running time: Two hours and 30 minutes with a 15-minute intermission.
