Playwright: Harvey Fierstein ( book ), Jerry Herman ( music & lyrics ) from Jean Poiret's play. At: The Marriott Theatre, 10 Marriott Dr., Lincolnshire. Tickets: 1-847-634-0200; www.MarriottTheatre.com; $50-$55. Runs through: March 22
Thirty-two years after its Broadway premiere, La Cage aux Folles should be an amusing period piece. Instead, its obvious message of tolerance and self-respect remains necessary as long as bigots cloaking themselves in religion are appointed to high office by hypocritical governors. That means you, James Meeks and Bruce Rauner.
Despite La Cage's social value, it's always made me a tad uncomfortable. Its story and characters obviously have broad appeal, evidenced by the history of La Cage: hit French play ( 1973, really early ), hit French/international ( 1978 ) film, hit musical comedy ( 1983, with Broadway revivals in 2004 and 2010 ) and hit U.S. film ( 1996, The Birdcage ). But the principal collaborators and stars in these many incarnations mostly have been straight men. I can't help feeling that La Cageon some levelis a heterosexual "look how liberal we are" statement, and that some hets may think it reflects the reality of all gay men. That just nags at me. Still, La Cage the musical was co-authored and originally directed ( the late Arthur Laurents ) by three men with impeccable gay credentials. When I see it on stage, I put my political qualms aside and take La Cage at face value.
This new staging gives full scope to the show's numerous funny and touching moments, helmed by Marriott Theatre mainstays Joe Leonardo ( director ) and Ryan T. Nelson ( music direction ), with choreography by Melissa Zaremba ( previously a frequent Marriott performer ). A few things are different than other productions I've seen, but that's what interpretation is about. For instance, Zaremba eschews the usual tap break in the opening number but puts in a can-can later. Nancy Missimi's costumes follow the usual rule that drag = gaudy and outrageous, but then she puts Albin/Zsa-Zsa in a sophisticated and tasteful black-and-gold beaded gown.
Song-and-dance veteran Gene Weygandt is older and less glamorous than the usual Albin, and is even frumpy at moments ( the Georges-Albin age difference is covered, unnecessarily, with a few lines added at the beginning ), but his superlative acting chops radiate warmth as he fully inhabits the role.
He ends Act I with a cry of pain rather than the usual anger, a rendition of I Am What I Am that is smaller in size than usual but utterly intense. His Other Half, David Hess as Georges, is relaxed, charming and rich-voiced. Throughout, the two invest numerous moments with genuine feeling and the camaraderie of a long-standing couple, something easy to do with Jerry Herman's lilting and famously-hummable tunes. The supporting cast and ensemble are strongliterally so, with Les Cagelles and Jacob ( Joseph Anthony Byrd ) rather well-muscledand with veteran Anne Gunn, as Mme. Dindon, showing how much you can do with a small role.