As a huge fan of The Birdcage and its ridiculous drag-positive perspective on life, I had somehow managed to miss out on any previous iterations of La Cage aux Folles. Being the inspiration for that Robin Williams/Nathan Lane laugh-out-loud comedy, the original French play was transformed into a musical and updated with a book by the hysterical Harvey Fierstein. New York City Center presents a bold new vision of La Cage Aux Folles—perfect for pride month, this encapsulation of queer joy put a smile on my face that never left. Anchored by two phenomenal lead performances from Billy Porter and Wayne Brady and an all-black cast for the very first time, this cheeky musical is a vibrant bitch slap of color and sharp comedy.
As with New York City Center’s other excellent entries in their Encores series, La Cage Aux Folles makes the most of an intimate space without needing to pour every bit of production value into the set design. The show has a unique set, reflective of the club itself. There is a kind of extended runway, the full orchestra is on display next to dressing rooms, and on either side of the small runway are separate lounging couches. Though this remains the main area for the majority of the runtime, there are also a set of extravagant outfits on hangers and massive posters of past starlets. Each of the features are subtle, and they add further texture to Albin’s extravagant personality. Playing the larger-than-life Albin, Billy Porter is absolutely terrific in the role. He is a master of his craft, and no stranger to a bold character (see: Porter’s Emmy-winning Pose).
Wayne Brady fills the role Georges, played by Robin Williams in the movie, acting as emcee for the proceedings. He gets the majority of the more nuanced line deliveries. His chemistry with Porter is contagious. Albin constantly shows up late to the club to perform, leaving much of the company to pick up the pieces in her absence. At La Cage, Albin becomes the stunning Zaza, flanked by dozens of dancers dressed as historical black icons Janet Jackson, Mariah Carrey, Eartha Kitt, Diana Ross, and many more. Meanwhile, Albin and Georges as a couple behind the scenes are celebrating twenty years of marriage. They still have an adorable affection for one another, and are constantly hitting each other with self-deprecating insults. The duo being played by two out gay actors is something special that we have not yet seen before. The supporting cast is just as good. The butler/maid (James Jackson Jr.) gets a variety of laughs, and an even wider range of costume changes. He usually shows up in some manner of short skirt with high heels, accentuating his long legs. My favorite supporting character had to be Jacqueline (Tonya Pinkins). With an over-exaggerated French accent, billowy clothing, and the obvious shaking of her assets, Pinkins makes Jacqueline a fully fledged character that really comes to life because of her bold take.
When Georges’s son, Jean-Michel (Alaman Diadhiou), shows up with some major news, it throws them into a tailspin. He has become smitten with a girl named Anne (Rachel Webb), and wants to impress Anne’s parents. He makes sure to sing about it, too, in perhaps the show’s most unnecessary song; however, it does allow us to witness some of Diadhiou’s exceptional tap-dancing talent. There’s one problem with Jean-Michel’s family: he has two dads! None of this would be a problem if Ann’s parents, specifically her father (Peter Francis James), weren’t so anti-gay. Anne’s father is actually a Deputy of the ultra-conservative Tradition, Family and Morality Party, fighting to get clubs like La Cage shuttered indefinitely. Impressing these type of people will require grace and, apparently, straight up lies. Jean-Michel comes across as a stubborn and unappreciative son, especially when he requests that the couple tone down their homosexuality, and even that they must not be romantically linked for the visit. To pour salt in the wound, Jean-Michel demands that they bring his birth mother, Cybil, to the table. And Albin? He can vacate for the day. Jean-Michel is an infuriating character that takes a little too long to have a redemption, despite being “so full of charm for a straight kid.”
Anne and her parents do not show up until act two, leaving parts of act one feeling a little drawn out. Though it’s a joy to see Georges and Albin’s relationship fleshed out as much as it is, the overuse of Jean-Michel, and the excessive reprises of iffy songs are a little undercooked. Still, the show-stopping finale, “I Am What I Am,” gives Porter plenty of space to impress. The full-on standing ovation was no surprise given the power of his vocal. Act two is overall much cleaner, and in ways, better written. In the show’s back half, character tensions reach their natural conclusion. We also get the most laughs as Albin, Georges, and their maid must play dress-up to impress Anne and her family. The whole scenario is utterly preposterous, and in the physical gags, there are plenty of laughs. “Masculinity,” where Georges teaches Albin how to be a man in front of others, allows Porter and Brady to riff off one another with reckless abandon. Where else will you find Billy Porter deepthroating a croissant than on the stage?
A messiness comes in some of the grander, ensemble-driven segments. Some songs could be cut entirely and have almost no effect on the plot at large. When La Cage embraces its campier elements though, it manages to find a sweet spot. Fierstein’s book remains very gay and always ludicrous, but finding the nuances in those elements comes naturally. By the end, nearly every character won me over, and each has their own unique charm. Never underestimate the ingenuity of a mother: La Cage aux Folles is the must-see queer theatre event of the season!
La Cage aux Folles plays performances through June 28th only at New York City Center. For ticketing information, please head over to the official website.
