La Cage aux Folles Off-Broadway Reviews

More psychologically nuanced than you might expect for what is ultimately a feel-good redemption tale, O’Hara’s interpretation appears to be in the process of finding itself. That makes this a fitful “La Cage.” It also makes me curious about ...

More psychologically nuanced than you might expect for what is ultimately a feel-good redemption tale, O’Hara’s interpretation appears to be in the process of finding itself. That makes this a fitful “La Cage.” It also makes me curious about what it might become.

The ultimate takeaway from Robert O’Hara’s La Cage aux Folles is that there are a lot of intriguing thoughts that have been prevented from cohering by the accelerated timeline. That’s why “The Best of Times” lands with such force. It’s no...

The ultimate takeaway from Robert O’Hara’s La Cage aux Folles is that there are a lot of intriguing thoughts that have been prevented from cohering by the accelerated timeline. That’s why “The Best of Times” lands with such force. It’s not just a second-act showstopper, it’s a reminder of how glorious La Cage aux Folles can be when everything clicks. For five minutes, it truly does, and they really are the best of times.

O’Hara’s direction has also messed a little with Les Cagelles. Rather than a uniform group of dancers à la The Rockettes, each performer appears to be channeling either Mariah Carey or Rihanna or Madonna or Grace Jones or Sylvester. It’s no wo...

O’Hara’s direction has also messed a little with Les Cagelles. Rather than a uniform group of dancers à la The Rockettes, each performer appears to be channeling either Mariah Carey or Rihanna or Madonna or Grace Jones or Sylvester. It’s no wonder that Edgar Godineaux’s choreography has trouble handling that herd of impersonators.

After leaving New York City Center, I looked again at the original French movie, which is available on Amazon Prime (there is also a 1996 American movie adaptation, The Birdcage, with Robin Williams and Nathan Lane.) There is something of a surreal ...

After leaving New York City Center, I looked again at the original French movie, which is available on Amazon Prime (there is also a 1996 American movie adaptation, The Birdcage, with Robin Williams and Nathan Lane.) There is something of a surreal tone to the presentation of Albin and Georges world,as if the filmmaker acknowledges it to be upside-down from reality. But also in this film version, it is not the son’s idea to have his parents pretend to be straight; his girlfriend inadvertently traps him into going along. This makes more sense to me, especially if this is now supposed to be taking place in the present. How can we be asked to accept a plot premised on such a cruel act by such an inexplicably callow young man? That same son, as it happens, offers one of the bright moments in a production that is colorfully designed, and carefully tuned, but is still finding its legs.

The ingredients on the City Center stage vary. Under Robert O’Hara’s direction, Porter and Brady—sometimes reading, often not—are at the forefront. James Jackson Jr. is a funny, light-in-the-slippers butler. Tonya Pinkins, as a flamboyant res...

The ingredients on the City Center stage vary. Under Robert O’Hara’s direction, Porter and Brady—sometimes reading, often not—are at the forefront. James Jackson Jr. is a funny, light-in-the-slippers butler. Tonya Pinkins, as a flamboyant restauranteur-neighbor, steals a scene or two. James is properly turkey as the reluctant father of the bride, with Webb charming as the hardly blushing betrothed. As Jean-Michel, Diadhiou has his moments singing and tapping in delight at having Anne on his arm.