La Cage Aux Folles (The SOB Review) - Longacre Theatre, New York, New York
***1/2 (out of ****)Chalk my earliest appreciation for
Jerry Herman's
La Cage Aux Folles to a backyard conversation I had with my childhood next-door-neighbor Virginia Hug back in 1983. Mrs. Hug made routine visits to New York City to get her fix of Broadway shows.
After coming back to Mequon, Wisconsin, from seeing the
original Tony-winning production, this meek and mild -- and traditional -- grandmother had nothing but raves to share. Never mind that
Harvey Fierstein's book centered squarely on a family that was anything but traditional. Mrs. Hug was captivated by its universal themes of love's unbreakable bonds and was practically singing its joyous score for me. Sadly, I never had a chance to see that incarnation.
Fast forward to 1996 when I was absolutely repulsed by the film "
The Birdcage" (based on the same source material ), which I detested for its stereotypical, self-loathing gay characters. I couldn't help but think, "I don't know any gay people like this." I remember leaving the movie theatre beside myself.
So when I finally saw the first
Broadway revival of La Cage in 2004, I was bracing myself for the worst. Instead, I was swept away and cheering for Albin's declaration, "I am what I am." Even if it wasn't a perfect production, I liked it.
I love this
La Cage Aux Folles even more. Revived with unmistakable sparkle, however tarnished, by director
Terry Johnson, this downsized
La Cage is what it is. It's a solid period piece populated with men who may dress in drag, but have more guts, ironically enough, in coming to terms with who they are than their less flamboyant counterparts.
While standing up to homophobia, Harvey Fierstein's book and Jerry Herman's glorious tunes get to the heart of how any relationship, gay or straight, endures. And as performed by
Kelsey Grammer (Georges) and
Douglas Hodge (Albin), it's not only deeply moving, it's practically heartbreaking. Hodge in particular scores with his defiant and scorching "I Am What I Am."
La Cage Aux Folles still may not be the perfect Broadway show -- the second act just doesn't measure up to the first -- but it may be the best version of the show you're ever likely to see anywhere. I only wish Mrs. Hug was still around to see it.
This is Steve On Broadway (SOB).
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.Labels: Broadway, Douglas Hodge, Harvey Fierstein, Jerry Herman, Kelsey Grammer, La Cage Aux Folles, Revival, Terry Johnson, The SOB Review
Mame (The SOB Review) - The John F. Kennedy Center for the Performing Arts, Eisenhower Theatre, Washington, DC***1/2 (out of ****)Although I've previously enjoyed repeated viewings of Auntie Mame with Rosalind Russell, I had never before seen the glorious musical adaptation of Patrick Dennis' novel about his beloved aunt. I had no idea what I was missing. The Kennedy Center revival of
Mame has an exuberant brilliance that shines throughout.
While critics unfortunately converged on the show during the third day of previews -- giving only tepid reviews to Christine Baranski's portrayal of the title character -- it's clear that had they waited, they would have seen the Mame they thirsted for. In a bravura performance, Baranski more than commands the stage and captures Mame's "live, live, live" essence with gusto. The queen of perfect timing, Baranski asserts herself, whether in delivering a comic line or deadpan look. Coupled with a gorgeous singing voice -- if not always enough to overpower the formidible orchestra -- this multi-talented actress possesses the charm, wit and poise to make hers a most triumphant and confident Mame, one who lives life to the fullest and persuasively encourages everyone around her to do the same.
Despite the show's lengthy running time, director Eric Schaeffer expertly moves this musical's story along almost as quickly as Baranski's costume changes (elaborately designed by Gregg Barnes channeling his inner Bob Mackie) and evolving glorious set designs by Walt Spangler (with one notable exception: the pastoral Connecticut setting looks like it was swiped directly off a Microsoft screen saver). The story envelopes us from the earliest moments, taking us from Mame's unusual introduction to her orphaned nephew Patrick (played by a precocious Harrison Chad) to the stock market crash, to her disastrous attempts to make ends meet during the Depression, to her romance with Beauregard Jackson Pickett Burnside (Jeff McCarthy lends a gentile warmth as this southern gentleman), to Patrick's ill-fated romance with an intolerant, smug girl who stands for everything Mame rails against.
Through it all, Mame is supported by her long-suffering friends Vera Charles (the brilliant Harriet Harris) and M. Lindsay Woolsey (the charming Ed Dixon), along with her trusted aides Ito (Alan Muraoka) and Agnes Gooch (the delightful Emily Skinner), who takes Mame's advice on living life to its fullest to a fault by letting her hair down along with her guard.
The heart and soul of this show come from Jerry Herman's beguiling score and book by Jerome Lawrence and Robert E. Lee (the same duo responsible for writing the play
Auntie Mame). Warren Carlyle's intricate choreography from one of the show's earliest moments on "It's Today" lets you know that this is going to be one heck of a ride -- Baranski, by the way, can hoof it with the best of them, and that in itself is pretty spectacular. The music and dance crescendos with the breathtaking title tune centerpiece "Mame." If the second act isn't nearly as electrifying as the first, it's because the plot turns decidedly darker with the death of Beauregard, Agnes' unplanned pregnancy and Patrick's unfortunate choice of fiance.
Yet ultimately,
Mame proves a feast for the senses and anyone who wants to relive the glory of old-fashioned musical genius. More importantly,
Mame is a celebration of tolerance and the most American of ideals: the pursuit of happiness. The only thing that could make me any happier is a well-deserved transfer to the Great White Way.
This is Steve On Broadway (SOB).
Click here for ticket information (most performances are already sold-out).Related Stories:Mame Slightly Bruised, Not Maimed, by Critics (June 2, 2006)
Assassins Loose in Washington for Another Week (May 31, 2006)
Mame with Christine Baranski Begins Saturday at Kennedy Center (May 26, 2006)
Labels: Christine Baranski, Harriet Harris, Jerry Herman, Kennedy Center, Mame, Musical, Revival, The SOB Review, Washington DC
