BWW Takes An Inside Look at LA CAGE AUX FOLLES' Set Design, Costumes

The return engagement of 9 Works Theatrical's LA CAGE AUX FOLLES closes today at 4 p.m. to a sold-out audience at Carlos P. Romulo Auditorium.

Manila, Philippines--Two of the most notable things the audience will definitely feast upon the local production of LA CAGE AUX FOLLES are its costumes and set design.

Mio Infante, the scenographer and costume designer of this production, talks about the herculean tasks he had to go through along with his team to put on a show that will not only be remembered because of its great lead actors--Michael De Mesa and Audie Gemora as Georges and Albin/Zaza, respectively--but also because of its production values.

Through the 'Beaded Eyelash' of Albin

The colour palette of the show is very Mediterranean. Saint-Tropez, where it's set, is a coastal town on the French Riviera, in the Provence-Alpes-Côte d'Azur region of southeastern France. The place has been popular because of its artists; it also attracted international jetsetters in the '60s because of its beaches and nightlife.

According to Infante, he borrowed inspirations from the golden hues of the skies and azure seas; the terracotta colors did find its way into the nostalgic "postcard look" and "feel" of a bygone era. The touches of teal and lavender echo the flora of the area.

"Fitting a 'big musical' scene that changes into a small space was quite challenging," he confessed.

In fact, this challenge didn't end there because it also involved a thousand and one [quick] costume, makeup, and wig changes.

Despite the fact that the originally show meant to be staged in a bigger theatrical venue [which is the exact opposite of the performance space at Carlos P. Romulo Auditorium], the director [Robbie Guevara] and Infante thought it was best to just focus on the intimacy of the plot, that being about family, love, and acceptance.

When one looks at Albin's beaded lashes, everything has sparkling dust, bugle beads, ostrich plumes as described in one of the songs titled "(A Little More) Mascara," which tells the audience that the world Albin is looking at is beautiful, too.

"Albin is such a strong character. He's an artiste and can have his share of tantrums. Despite the challenges of being accepted by the social norms, he ultimately can laugh about it, and selflessly take sidesteps in lieu of unconditional love for his family. Albin notes that he does this 'with one great stroke of mascara' and everything seems and looks better," Infante added.

He also mentioned the biggest challenge was the script as it required for multiple scenes that take the audience inside the apartment, backstage of the club, on the St.-Tropez promenade, and back; and the changes had to be fast and seamless.

"We decided on a generic-looking set of arched doors that could double up as interiors and exteriors with a bit of louvered door add-ons that complemented the other scenic drops that flew down from the battens, and we were able to do that. We also extended some scenic elements into the auditorium house, so that the audience could become part of the cabaret club 'La Cage'."

A Dream Come True

Infante, a former Cagelle in Repertory Philippines' 1988 production of the same musical, said designing Albin/Zaza's costumes is a dream project. He shared that the work came easy for him because he's already quite familiar with the material though.

"As a reference point, I looked at cabaret drag personalities of the late '70s to early '80s; zeroed-in on the fabulous gowns with sequins of Danny La Rue and also the Liberace style, with echoes of style icons such as Ann Margaret, Lady Diana Spencer, Telly Savalas, and even Margaret Thatcher [for the other characters' costumes]."

"We first see Albin 'in-between scenes,' and 'at home in the kitchen.' The script calls for him in a dressing gown, but I figured his style offstage would still exude the flamboyant thespian style. He would be wearing a bustier and slip that would transform into a costume change in full view of the audience, but should move well with the 'Ginger Rogers-type of choreography'

"Twinkle Zamora (costume execution) and I found this fabulous printed fabric, which we knew would be perfect in electric-pleated and matched with satin details that would put contrast in texture."

He also shared: "We had several shopping sprees in Divisoria and had the time of our life sifting through bolts and bolts of fabrics in sequins, of all colors and textures. It was like wanting to have all the candy in the candy store. However, we had to restrain ourselves knowing that, ultimately, we had to pick, select, and simplify!"

"On Zaza's gowns, we had to consider the male form with the type of silhouette of 'show costume' gowns. By putting more fabric and flounce on the bodice and bust area, while showing off a lot of shoulders, we looked into a sexier form of course and added a bit of the hips."

Cagelles Dressed Fashionably in Drag

Since the show is dubbed as a "cage of mad women": from cagey crinolines to spider webs, Little Bo Peep and Harem girls, to geishas and cloistered nuns, the Cagelles' costumes are much fun to design. It was the craziness of the casts--their wackiness on and offstage is infectious.

"We were very lucky to have been given permission to rummage through Repertory Philippines' costume collection and (thank you to Tita Baby Barredo). It was fun and nostalgic to see costumes from shows I had been part of before as a designer or as an actor. I remember finding a pair of Leopard hi-heeled boots and finding my name scribbled inside it! It was from Repertory's 1988 'La Cage' production.

"This show is our homage to the fashion gurus of the '80s (the Fashion Designers Association of the Philippines) who generously and enthusiastically designed the finale bridal gowns."

From other costume designers like Tita Celia Diaz Laurel, Tita Baby [Barredo], etc., we borrowed costumes such as for Jacobs' [Albin's personal assistant] quick costume changes.

While on the wig and makeup, Mio collaborated with Myrene Santos. We considered different wigs that would flatter the male actors' faces, keeping with the period style and our budget. We also had female actors in the Cagelle lineup, and it added a challenge to make them look like men in drag--costume and makeup-wise.

The return engagement of 9 Works Theatrical's LA CAGE AUX FOLLES closes today at 4 p.m. to a sold-out audience at Carlos P. Romulo Auditorium, RCBC Plaza, Makati City.