La Cage Aux Folles

Reviewed by Vanessa Cate
East West Players & Los Angeles LGBT Center
Through June 26

As the last production of East West Players’ Golden 50^th Anniversary Season, La Cage Aux Folles arrives with its deck stacked and our interest peaked.  An exciting collaboration between EWP and the Los Angeles LGBT Center, this flamboyant comedy marks the final project of Producing Artistic Director Tim Dang before he takes his final bow.

The show, directed by Dang, is about love and family. Georges (Jon Jon Briones), the owner and emcee of the infamous night club La Cage Aux Folles, finds himself in a dilemma when he is visited by his son Jean-Michel (Jimwoo Jung). Jean-Michel has been swept away by young love, and is determined to make a good impression on the conservative family of his intended in order to secure her hand in marriage. But his family life is anything but conventional: His “mother” Albin (Gedde Watanabe) has been headlining the club’s act for years, appearing as the larger- than-life transvestite cabaret artist, Zaza.  

Surrounded by untamed egos, feather boas, Speedo-clad boy toys, cross-dressers, and a whip master, Jean-Michel decides that drastic changes are needed, and fast! Georges and Albin are two loving parents who want to oblige their son. But how much must they sacrifice of their identities and dignity in order to appease him?

If you have seen The Bird Cage — the 1996 film inspired, like this production, by Jean Poiret’s 1973 French farce (also titled La Cage Aux Folles) — you will understand the frenetic energy and charismatic performances that are needed to make this story succeed. (Honestly, Robin Williams, Nathan Lane, and Hank Azaria set the bar pretty high.) Here, lead performers Briones and Watanabe serve up rather lovely performances and have some touching moments together. However, they fail to hit a home run in terms of emotional resonance and star quality, and their chemistry suggests more of a platonic friendship than a long-standing love affair.

Some of the productions elements are also not what they should be. Anthony Tran’s costumes are respectable, but Briones and Watanabe could have — and should have had — more flattering and glamorous outfits and wigs.

Virtually all the supporting members of the ensemble are strong. As Jacqueline, Grace Yoo’s delicious diva practically upstages even Watanabe’s Zaza. Audrey Cain does a remarkable job with Anne, the uninspiringly written character who is Jean-Michel’s love interest. Sharline Liu as Anne’s sheltered mother, Marie Dindon, is a comic delight. Allen Lucky Weaver as Albin’s hopeful maid furnishes much needed comic timing. And each of the fiery Cagelle dancers (Christopher Aguilar, Carlos Chang, Jonathan Kim, DT Matias, and Alex Sanchez) thrills and entertains.

Let’s face it: Jerry Herman’s overly-long show tunes aren’t stellar, and succeed only by way of their sentimentality and vague familiarity.  Some snippets sound suspiciously similar to melodies from other famous musicals. In tandem with Harvey Fierstein’s book, the musical comes off as simple and arduous, and runs the fine line of being, well, a drag.

But the premise is golden, the characters endearing, and that timeless story of love will always endure. Combined with the ever timely concerns involving gender, queer rights, identity, and pride, this production has a lot to offer. Plus, the show is just plain fun, with glitzy dance choreography by Reggie Lee and a healthy dose of “man meat” (that is not only aesthetically pleasing but used functionally and smartly throughout). Ultimately, La Cage Aux Folles can be considered a very sweet swan song for director Tim Dang.

David Henry Hwang Theater at the Union Center of the Arts at 120 Judge John Aiso Street, Los Angeles; Wed.-Sat. 8 p.m., Sun 2 p.m.; through June 26. (213)625-7000 or www.eastwestplayers.org Running time: Approximately 2 hours 35 minutes with one 15-minute intermission.