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Book by Harvey Fierstein; music and lyrics by Jerry Herman; based on the play La Cage aux Folles by Jean Poiret; scenic design, Bert Scott; costume design, Marcia Zammarelli; lighting design, Martin E. Vreeland; sound design, Christopher M. Evans; wig design, Gerard Kelly; production stage manager, John Godbout and Shawn Pryby; music direction, Dale Rieling; choreography, Michael Lichtefeld; directed by Charles Repole
Now through October 6, North Shore Music Theatre, 62 Dunham Road, Beverly, Mass.; tickets priced from $45-$75, available on line at www.nsmt.org or by calling the Box Office at 978-232-7200
It's too bad that handsome leading man Charles Shaughnessy can't sing, because if he could he'd be absolutely perfect in North Shore Music Theatre's rollicking production of La Cage Aux Folles. Dashing, charming, funny, and in total command, Shaughnessy is genuinely touching as Georges, the owner and emcee of the most famous drag club in St. Tropez, and partner to Albin (Jonathan Hammond), the flamboyant star also known as Zaza.
Shaughnessy exudes a tender sincerity as the more grounded of the two gay men in this dated but still delightful Harvey Fierstein-Jerry Herman classic. Georges must often appease Albin's artistic temperament and cajole him whenever he's being particularly obstinate, and these diplomatic skills are tested mightily when Georges' son, Jean-Michel (Zach Trimmer), arrives with his fiancée, Anne (Stephanie Martignetti), and her anti-gay parents (Larry Cahn and Maureen Brennan) in tow. Fearing that Albin's mannerisms are too "obvious" for the ultra-conservative Dindons, Jean-Michel wants Albin to move out of his and Georges' apartment until the guests are gone. In an effort to soften the blow of Jean-Michel's rejection, Georges reminisces with Albin about their younger days, singing the beautiful "Song on the Sand." Arguably one of the most romantic ballads Jerry Herman has ever written, unfortunately here it loses its sweet/sad lyricism. Shaughnessy's inability to hit the notes shatters its melancholy mood and lilting melody. The same is true for the equally lovely "Look Over There" which Georges sings to Jean-Michel to help him understand just how deep Albin's "motherly" love for him has been.
Hammond also misfires when singing his big numbers "Put a Little More Mascara On" and "I Am What I Am." He litters his singing with odd scoops, slides, back-phrasing and long-held vibrato, overshadowing the power of Herman's self-affirming words and music with self-indulgent, attention-grabbing technique. Hammond overdoes Albin's affectations, too. Instead of finding the sweet and sensitive soul that informs Albin's feminine manner, he comes across as a burly straight man trying to act the way straight men think gay men behave. The result is a bizarre flouncing and twitching mix of Nathan Lane, Judy Garland, and Nanny Fine.
When Hammond turns off the juice and settles into the more matronly clothes of Jean-Michel's "mother" in Act II, however, he finds some genuine heart. He also shares a few nice moments with Shaughnessy, especially when Shaughnessy is able to control the comic tone and tempo. Shaughnessy and Trimmer enjoy some wonderful father-son chemistry, too. And when Trimmer lovingly wraps his gorgeous tenor around "With Anne on My Arm" and his reprise of "Look Over There," the romance in Herman's elegant score finally blooms.La Cage Aux Folles really springs to life, though, whenever the fantastic singing and dancing Cagelles are on stage. Leaping, tumbling, high-kicking, and can-can-ing their way into death-defying splits, these 10 men (and women?) are Red Bull dosed with a turbo-shot of Rockstar. The title number is jaw-droppingly exhilarating. Like Ginger Rogers and Cyd Charisse, these Cagelles do everything Fred Astaire (and Gene Kelly and Jerome Robbins and Michael Kidd) did except backwards and in heels.
PHOTOS BY PAUL LYDEN: Charles Shaughnessy as Georges and Jonathan Hammond as Albin; Charles Shaughnessy and Zach Trimmer as Jean-Michel; the Cagelles
