Review: Times Are Changing for LA CAGE AUX FOLLES

La Cage Aux Folles is not the show it used to be.

When Jean Poiret's French play of the same name came out in 1973, and when Jerry Herman and Harvey Fierstein premiered their Tony Award winning musical in 1983, society was fundamentally different.

Albin's panicked dismissal of Georges' public displays of affection is now received with chuckling - as it now appears that Albin is a bit shy rather than afraid of the judgment of others.

The Dindons appear, to most modern audiences, even more absurd than they would have when the show first took the stage.

With changing times, La Cage has transformed from a story focused on breaking down barriers to a story about love itself.

Nightclub owner Georges and his partner/star of the show Albin find themselves in an uncomfortable situation when their son Jean-Michel announces that he is to be married to an ultra conservative politician's daughter. When Jean-Michel's fiancée Anne and the Dindon family come to visit, he asks that his parents tone themselves down and that Albin not be around for the visit.

Even with the changing times - nothing softens the blow of Albin being told he isn't welcome.

That moment, which launches the show into the heart wrenching "I Am What I Am", is particularly sobering with Robert A. Goderich embodying the role of Albin.

Goderich's comedic flair shines as brightly as the Cagelles' sequin dresses, but his chops are equally strong in

Albin's moments of despair. Goderich's vocal strength in the role gives him power that goes beyond Albin's massive personality and his charm oozes during various interactions with the audience - particularly when the audience isn't cooperative.

Doug Swenson, as Georges, on the other hand is the steady rock that Albin and Jean-Michel need during the show. Swenson's debonair wit is well matched to Goderich's diva. There is palpable chemistry between Swenson and Goderich during their romantic duets, but Swenson also has a remarkable stage chemistry with all of the performers he interacts with.

An unexpected standout of this production was J. Adam Shelton as Albin's maid Jacob. Shelton has an infectious grin and an even more infectious dead pan. His devotion to Albin is flat out adorable - and never has there been a better wearer of powdered wigs.

Under the direction of Catie O'Donnell, Music Theatre of Madison's 10th season opener is a glitter canon.

It's a shame that companies rarely perform La Cage anymore, thankfully MTM's mission is to produce those lesser known productions.

Some could, and do, argue that La Cage is dated.

But La Cage is just as relevant as ever - just in a different way.

The focus in the show changes as time goes on and the world changes too - but the lyrics remain heartfelt, the story remains familiar, and the dances (especially when choreographed by Marsha Heuer) are sassy.

La Cage, like a fine French wine, gets better and prouder with age.

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