Review: The Muny's LA CAGE AUX FOLLES is The Best of Times

The best of times is now.  Right Now - At The Muny! The Muny’s La Cage Aux Folles is a flashy old-fashioned musical extravaganza. It has love, romance, laugh-out-loud comedy, heartfelt drama, spectacular dancing, lavish costumes, and an eye-popping set wrapped in a story that feels as fresh and new as it did when it first premiered on Broadway 42 years ago.  

Based on the French film of the same name, La Cage aux Folles, premiered on Broadway in 1983. Harvey Fierstein teamed up with Jerry Herman and Arthur Laurents to develop the musical. The original production was nominated for nine Tony Awards, winning six including Best Musical. La Cage Aux Folles holds the distinction of not only winning Best Musical Tony, but it also won The Tony for Best Revival both times it was revived in 2004 and 2010, and is the only musical to win each time it was produced on Broadway. 

La Cage Aux Folles tells the now familiar story of a gay couple, Georges and Albin, who run a popular drag show near the beaches of Saint-Tropez, France. Their son returns home to drop two bombshells. He is engaged and his future father-in-law is bigoted conservative politician who is fighting to close the gay clubs in the French Riveira.  

La Cage last appeared on The Muny stage in 1986. Since that time, the musical was adapted into the blockbuster film, The Birdcage, starting the late Robin Williams, Nathan Lane, the late Gene Hackman, and Dianne Wiest. The film grossed nearly $200 Million worldwide.  

The Muny’s Mike Isaacson and Michael Baxter had a genius idea for casting. They hired Broadway royalty Norm Lewis and Michael James Scott for the roles of Georges and Albin. This production marks a historic first. It is the first time that the six principal roles in La Cage Aux Folles have been played by black actors.  

Lewis last played The Muny in the 2013 production of Les Misérables. His performance as Javert has become legendary. Scott is a graduate of the Conservatory at Webster University. He has been in Muny productions of Aida, Cinderella, South Pacific while he was in college in St. Louis.  

Lewis and Scott are beyond fabulous as Georges and Albin. Lewis’ Georges is the steady anchor of the couple. His Georges manages the flamboyantly emotional Albin, both as club owner and husband. His sumptuous resonate baritone shines with adoration for Albin when he sings Song on the Sand. He’s a measured comedic straight man to Albin’s outrageous histrionics.  

Scott’s Albin is extra. His exaggerated and overwrought excess is over-the-top, but he never makes Albin a caricature. His commanding presence is felt in every scene and his song The Best of Times is a wonderfully entertaining. Scott steps into Muny legendary status himself with his act 1 closer I Am What I Am. He has a Jennifer Holliday Dreamgirls moment when his hurt floods forth in an anthemic showstopping moment. It is a performance that is going to be talked about for decades to come.  

Scott’s hurt and disappointment is palpable. It makes the emotional payoff in the reprise of Look Over There, when his son finally acknowledges him, extra sweet and emotional. Scott’s Albin, while still absurdly flamboyant, is down-to-earth, human, and relatable. His portrayal engenders deep audience empathy resulting from the more subdued, emotion-laced parts of his performance. 

Mason Reeves shows leading man presence in his return to the Muny as Georges and Albin’s son Jean Michel. His paternal connection to Lewis is genuine, but it is his acceptance of Albin as his mother that gives this production of La Cage Aux Folles heart. His polished tenor shines in With Anne on My Arm and Look Over There. 

Jean Michel’s fiancée Anne, played by the effervescent Cameron Anika Hill, is a confident and determined ingenue. Hill looks lovely, gives Anne a sweet side, but she shows strong resolve when her parents object to her marriage to Jean-Michel. She and Reeves have a lovely Fred Astaire – Ginger Rogers moment dancing elegantly across the expanse of the Muny stage. It is one of the more subtle moments of Richard J. Hinds splendiferous choreography.  

Troy Iwata, last year’s hilarious Ogie in Waitress, plays Albin’s uncoordinated butler Jacob. Iwata is again comedic gold giving Jacob a devil may care attitude. He recklessly manages Anne’s parent’s luggage in a laugh-out-loud bit. Every time Iwata is on stage hearty laughter ripples through the audience. Iwata is a comedic genius. 

Anne’s conservative parents, fearlessly embodied by the farcical Terence Archie and Allison Blackwell, are overbearingly bigoted. Archie earns big laughs as he boldly and repeated proclaims, with all the intolerance in his being, that Georges and Albin are HO-MO-SEX-U-ALS. Blackwell and her enormous operatic soprano have a scene stealing moment when singing her solo in The Best of Times. Archie and Blackwell put a memorable their stamp on their second act appearances. 

Richard J. Hinds' fierce choreography and Bobby Pearce’s ostentatious costume designs for Albin and the clubs notorious Les Cagelles added to the snazzy glitz of The Muny’s oversized La Cage aux Folles. The 12 actors playing Les Cagelles and the rest of the company athletically executed Hinds' physically demanding brand of tap, jazz, can-can, and showgirl-style dance all while sporting Pearce’s outlandish costumes.  

Pearce created hundreds of elaborate, theatrical, and glamorous costumes in every color imaginable. His bold designs for Les Cagelles and the ensemble must be among the most radiant and resplendent looks to ever grace The Muny stage. Michael James Scott stunned in every gasp-inducing gown Pearce created for his drag persona Zaza. Pearce’s vivid costumes are breathtaking, even his simpler bright colored blazers and slacks for Georges are memorable. Pearce’s looks wouldn’t be complete without all of Tommy Kurzman’s beautifully designed wigs.  

Director Marcia Milgrom Dodge has staged a Muny sized production of La Cage aux Folles. While she impresses with a grandiose production, she doesn’t lose sight that this story is about love and family. The audience gasps just as loud when Jacob accepts Albin as they do during any of exaggerated musical numbers. That is because, as a director, she is an exquisite storyteller.  

La Cage Aux Folles features the largest orchestra of all Muny productions this year. Under the direction of Darryl Archibald, the 30 musicians slay the Jerry Herman score. The sound was as big and robust as the rest of the production. Credit sound designers John Shivers and David Patridge for balancing the sound of the large orchestra and the enormous company. Every sound, including soft speak and whispers were audible.  

Matthew Buttrey’s gigantic and richly detailed set design was complimented by Kylee Loera and Greg Emetaz’s playfully vibrant video design and Jason Lyons skilled lighting design. The set, video projection, and lighting added to the productions monumental feel.  

The Muny’s La Cage Aux Folles is enormity in storytelling. Contrasted with the intimacy of last week’s Dear Evan Hansen, Marcia Milgrom Dodge’s La Cage captures the grandeur of what The Muny does best. It is a grand venue that supports epic productions. As Artistic Director and Executive Producer Mike Isaacson always says, “The Muny is alone it its greatness.”  

Get to the Muny this week. Hold this moment fast and make it last. Because, at The Muny, The Best of Times is Now! 

La Cage aux Folles continues its run at The Muny nightly through August 14th. Tickets can be purchased at the Muny Box Office in Forest Park or by clicking the link below.