The Best of Times is at Toby's "La Cage aux Folles"

SHOW INFORMATION:  La Cage aux Folles plays through March 9; Thurs – Sat Evenings, Sundays have matinee brunch and evening dinner.  BWW readers get a 25% discount per ticket on all Thursday and Sunday Evening performances through February 24.  Mention the BroadwayWorld discount when ordering tickets.  For more information, call 1-866-99TOBYS or go to www.tobysdinnertheatre.com.

 

◊◊◊◊◊ out of five.   2 hour, 35 minutes, including intermission.  Adult themes and situations.

When the musical La Cage aux Folles opened in 1983, it caused somewhat of a stir to have its main characters be a loving gay couple.  Oh, Broadway had already seen its share of gay characters, but certainly never in such a mainstream, big budget way.  Today, while that edge of controversy is far gone, La Cage aux Folles may seem relatively quaint (in only positive ways), but it is as relevant as ever, what with same-sex marriage continually in the news and a hot-button topic in the news.  What this musical (and its many film and, originally, play, versions) shows us, but that the news media and political folks seem to always miss is that love, no matter who is doing the loving, is universal and, indeed, a very human thing.  Nowhere is that outpouring of love more evident than in the spectacular new production of La Cage which opened this weekend at Toby's Dinner Theatre of Baltimore.  This production not only ups the ante for visual acumen at the local level, but it offers not one, but two star-making turns, a superb ensemble and same damned fine dancing.

To call this a "mad extravaganza" to quote Jerry Herman's jazzy, fizzy music and lyrics, is to somehow do this production a disservice.  Set designer David A. Hopkins uses a wise combination of set pieces and extravagant whole sets to suggest a larger-than-life world most of us only dream about.  For example, an outdoor café is suggested by a pair of tables and a lovely painted drop of St. Tropez.  Here, designer, cast and director, have collaborated carefully to assure that the audience's focus is on the characters and what they are saying rather that put all concerned on sensory overload.  The same can even be said of the elaborate apartment set in its outlandish pink marble, three doors, and ornate furnishings.  That set, immediately conjuring images of door-slamming farce and high camp, also nicely fades to the background as soon as the characters walk on.  Whether that was a conscious design decision or not it speaks to the high level of craftsmanship.  Interestingly, when your eyes are the most dazzled, during the amazing "La Cage" cabaret numbers, there is even less on the stage, but what is there is eye-popping and breathtaking.  Hopkins creates a "show" background with stage arches taking us deep into the theatre and with some sparkly curtains.  But, again, wise designer that he is, he has collaborated with his lighting (Lynn Joslin) and costume (Larry Munsey) design counterparts to be but one part in an intricate set up.  Ms. Joslin, surely one of the best local lighting designers, has really outdone herself here, adding colorful paint to an already colorful canvas, suggesting both the bright lights of the stage and all of the magic and mystery suggested by the show's title tune.

Larry Munsey's costumes are almost impossible to do justice to in mere words.  Each and every one, even the street clothes worn in certain scenes, has been carefully calculated to reveal character and convey mood.  The alluring costumes of the cabaret girls, the notorious "Les Cagelles," offer scene after scene of impressive glitter, feathers, beads and spangles.  Each of their scenes builds in lavish creativity.  That they are clever is a no-brainer, but you will laugh until tears run down your cheeks.  Mr. Munsey also plays the leading role of Albin/Zsa Zsa, and he shows a very deep understanding of the man Albin is and the lady (yes, lady) Zsa Zsa is.  Each costume in and of itself is a character study.  Zsa Zsa's La Cage gowns are sumptuous delights, each a shimmering chandelier of light and sparkle, with a gold sequined gown with floor length sleeves being the apex – it is a beauty!  And ever so wisely, at the ultimate moment of conflict in act one, when Zsa Zsa/Albin declares herself/himself in the signature number "I Am What I Am," she is in a tasteful, decidedly un-gaudy blue evening gown that exudes nothing but class, like the woman herself.  I cannot recall another area production where the costumes have been so amazingly perfect, without exception.

Director Eric J. Potter and choreographer Tina Marie DeSimone have crafted a nearly seamless production that is a tightly executed as the design elements. In both a tribute to the traditional musical form that La Cage aux Folles has, with many scenes stopping and changes are made in complete darkness, and with a nod to the more modern non-stop staging style the transitions between the apartment and cabaret scenes require, Potter has carefully plotted which type of scene change goes where, offering the audience a brief chance to catch its breath when appropriate, and still other chances to be swept away breathlessly into the glamorous world of the St. Tropez nightlife.   He is also to be commended for not allowing things to get dramatically overwrought on either end of the scale.  He allows to farcical moments to play out, the comedy moments to not get too campy and serious moments to make their point and move on.  It helps, of course, that he is working with material by two masters of their craft, Harvey Fierstein (book) and Jerry Herman (music and lyrics).  But still, in this day and age of directors insisting they "put their own stamp" on things, it is nice to see a director take such care of what is an American Musical classic.  Ms. DeSimone's choreography is, as always, a triumph of style and the wisdom of playing up her dancers' strengths and carefully hiding their shortcomings.  But these huge numbers, two of which go on for several minutes, are also endlessly clever, hysterically funny and simply astonishing.  The title number alone is worth the price of admission – a veritable cavalcade of beauty and gaudy excess, and stands as the current gold standard for complete and total collaboration.  With "La Cage aux Folles," director, choreographer, designers and company are firing on all cylinders to triumphant success.

The 22 member cast is, from top to bottom, exceptional.  Several members of the cast fill necessary, if not huge roles as members of the cabaret staff, waiters and townsfolk.  But it is no small compliment to say they are a major part of the glue which holds this tight company together.  They may not speak or only briefly do so, but their impact does not go unnoticed – congratulations to all: Byron Fenstermaker, Shoshana Rose, Mary Searcy and Joshua Singer.

The world famous and notorious "Les Cagelles," those mistresses of the mystery and intrigue dazzle as the gender-bending dancers of the nightclub.  (James Biernatowski, Bryan Daniels, John Dellaporta, Jordan Klein, Heather Marie Beck, Steve Love, Rebecca Fale Chui, Johnathan Jackson and Frank Anthony) "Just who is who and what is what" the song goes, and these girls don't miss a beat.  They kick, twirl, tap and pirouette like The Rockettes and the New York City Ballet, but all with a naughty edge.  And in dangerously high heels and elaborate costumes to boot?  Brava, girls!

Lynne Sigler is one of those actresses no musical comedy can do without – a riot in The Full Monty, a tower of strength in Fiddler on the Roof – in La Cage, she is Jacqueline, owner of the swankiest restaurant on the French Riviera, with more than a few tricks up her sleeves.  The gleam in her eyes when she delivers some of the choicest plot turns of the show is delightful.  Stephen Galloway, Jr. provides much campy humor, with just the right dash of warmth and reality to the misunderstood and misguided Jacob, butler, uh, maid to the family.  Whether he is in Louis the XIV excess or French maid frills, Galloway is enough  man and woman to keep that zany house running.  Becca Vouvoulas, as Anne, the young lady whose impending betrothal to our hero and heroine's son causes all of the trouble, is absolutely charming.  Her wide smile and pretty eyes make it easy to fall in love with her as Jean-Michel has.  And with this role, she also shows that no matter the size of her part, she is the consummate professional making 100% of her stage time.  Sam Ludwig, who made an impressive Toby's debut last year in Titanic: The Musical, plays the somewhat difficult role of Jean-Michel to perfection.  He manages to be loving son, arrogant self-serving jerk, and heart-warming hero all at once.  His "Anne on My Arm," an ode to love struck youth, is sweet and stirring, and his show closing reprise of "Look Over There," when her declares his love for the only real mother he ever had, Albin, is touching in that silent tears kind of way.  (Bring Kleenex, folks.  You will be moved.)

Local favorites Daniel L. McDonald and Liz Boyer-Hunnicutt (in her Toby's debut!) are the stiff upper lip pair of ultraconservatives bent on ruining the lives of everyone not exactly like them.  Both manage to play up the self-righteous indignation, but both also mine the inherent humor to be found in such over the top pomposity.  Both show off fine pipes as well, with the challenging "Cocktail Counterpoint," and their deadpan expressions as they are snuck out of the nightclub are equally hilarious.  They have superb comic timing and serve as the perfect complement to the other end of the scale pairing of our two leads.

At the center of this entertainment hurricane are Albin and Georges, played on opening night by Larry Munsey and Darren McDonnell.  Mr. McDonnell is the understudy for role regular Jason Fulmer, who, for health reasons, will miss the first weeks of the run. (We at BroadwayWorld.com join the Toby's family in wishing Mr. Fulmer well and a full, speedy recovery.)  But like tradition dictates, the show must go on.  And everyone concerned can rest easy – they are all in extremely capable hands.  Had it not been announced that Mr. McDonnell had only a couple rehearsals and one prior performance under his belt, you'd never know it.  (And trust me, Mr. McDonnell has taken his share of lumps from me over the years, so I wouldn't hold back or overstate here.)  He is making what amounts to a star-turn, so on top of this character is he.  As the nightclub owner, his delivery is bold and in your face – the showman of showmen.  In his family scenes, he is exactly what Georges is – a harried, hen-pecked husband who loves his wife and son more than life itself.  McDonnell guides us through the relatively intricate plot like he is on an adventure with Indiana Jones, as he navigates the stormy weather of Albin's melodramatic mood swings all in an effort to spare his feelings.  The actor appears to be enjoying all of the madcap fun, which is a perfect balance to the crushed, crestfallen face and delivery of later scenes where he tries to patch things up.  And the man can sing!  His "Look Over There" will touch your heart, and his "Masculinity" will tickle you as much as the song clearly tickles him.  Congratulations, Mr. McDonnell.  You are a real professional.

Last, but by no means least, is the second start-turn of the evening by Toby's regular Larry Munsey, who, in this role (ok, roles) really comes into his own as a complete musical theatre actor.  We in the business often talk of performers who are triple threats, but here, Mr. Munsey is really a quadruple threat – a magnificent singer, dancer, comedian and dramatic actor.  Time after time, he goes for the less obvious acting choice, always siding with what fits the whole picture best, not once going for the easy laugh or easy cheat to tug at the audience's heart strings.  He underplays with a sincerity rarely scene at any level, and he is a larger than life presence only when necessary.  Nowhere is that more evident than his triumphant rendition of "A Little More Mascara," a number rarely singled out, but here a veritable showstopper, as we are witness to the transformation from he to she.  As Zsa Zsa, her glee at being apart of the huge "La Cage aux Folles" number is clear, and full of feminine gusto.  And his "I Am What I Am" is a tribute to the iconic nature of that song, still a rallying cry for gay pride.  But what really sold me on Mr. Munsey's brilliance in the role is that brief moment when he appears in full female garb and make up as Jean-Michel's mother.  It is a brief moment, when on his face you see pride and self-determination mixed with a poignant look of love for her child – a look only a real mother can have.  Then, of course, Albin is truly "tucked away" so that Zsa Zsa can save the day.  His performance is one likely to be talked about for years.

And so, friends, there you have it.  The first "event theatre" of 2008 is here with us for only a very short time – through March 9.  You really don't want to miss this impressive production.  With budget-busting production values, amazing dancing, laughter, tears, and a boat load of tunes you'll be humming for days, La Cage aux Folles at Toby's is one birdcage you won't mind being caught in.

PHOTOS courtesy of Toby's Dinner Theatre, photography by Kirstine Christiansen.  TOP to BOTTOM: The Notorious "Les Cagelles"; The Dazzling Zsa Zsa!; "Masculinity": Albin and the St. Tropez Townsfolk; Jean-Michel with Anne on his arm; Daniel L. McDonald and Liz Boyer-Hunnicutt make a disguised exit; Larry Munsey as Albin and Zsa Zsa.

 

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