After making its Nashville debut as part of Circle Players’ 50th Anniversary season some twenty years ago, La Cage aux Folles is back at Circle as part of their history-making 70th season. What’s more, Music City’s exalted theatre critic-cum-director, Jef Ellis—who helmed that first local presentation in 1999—is back at the helm as director for this special anniversary mounting; currently at Z Alexander Looby Theatre, with shows thru Sunday, February 2.
When I featured Ellis and members of the cast of Circle Players’ current production of La Cage aux Folles in a recent Rapid Fire 20 Q, I mentioned him being the perfect choice to direct the beloved musical—in which Jerry Herman and his collaborator Harvey Fierstein examine what makes a family—not only because Ellis directed the aforementioned area debut, but also because of his adoration of classic modern musicals.
What I failed to mention was another of Ellis’ unique qualifications, for you see, Ellis has been a longtime constant advocate for gay rights, having founded DARE (later rechristened Query), Tennessee’s first-ever LGBT newspaper. With that in mind when I arrived at Z Alexander Looby Theatre for an opening weekend performance of La Cage aux Folles, I already knew I was in for quite a night.
Upon entering the theatre, Ellis set the perfect early 1980s Saint-Tropez vibe by adding a row of cocktail tables between the venue’s stage and theatre seating for a select few patrons.
Before the show began, there was a little pre-show entertainment (courtesy Nate Paul, the show’s musical director) followed by an introduction from Simone, the Maitre d’hotel played by Steve Raimo, better known to fans of Nashville drag as Veronika Electronika.
One of the first things I noticed was the placement of Paul and the live band, rather than the usual spot stage left, the band (Matt McNeil, Logan Scarbrough, Tom D’Angelo, Kelly Hogan, Daniel Johnson, Michael Luttrell and Raymond Ridley) was seated on the stage, just as any orchestra would likely be at most high-profile nightspots of the time. This was a genius move on Ellis’ part in another way, for many many times when I’ve attended shows at Looby Theatre, the band–usually positioned to the right of the audience–frequently overpowers the actors’ voices. Not this time. By placing the band behind the action,, Ellis achieves a perfect blend of sound.
After a few welcoming remarks from Simone that teetered ever so dangerously near a bit too bawdy, the show began with Macon Kimbrough as Georges, the emcee and owner of La Cage aux Folles. Initially, Kimbrough, a longtime favorite in the Nashville theatre community, seemed a tad subdued, but read on…
The show’s energy quickly accelerated with the opening number, We Are What We Are as performed by Les Cagelles (Kayne Dayton, Konnor Davis, Alex Van Buren, Jacob Brashar, Becky Charlton, Ashley Wheeler, Poem Atkinson and Schuyler Phoenix), a bevy of beauties of indeterminate sexual identity. Side Note: Having seen La Cage a few times over the decades, not to mention my own appreciation of the art of drag, this was the first time I’d seen more than one cis female among the troupe. At first it was a little off-putting, but then the idea of ‘what does it matter who’s male and who’s female?’, a prime plot point of the piece, kind of began to ring true. Besides, I completely understand you can only cast a show with whomever shows up for auditions.
Following this number, Kimbrough’s Georges returned and as his performance continued, it was clear it wasn’t opening night nerves or a lack of enthusiasm driving him, but rather, pure raw emotion for the role and the importance of the work. Throughout the show, and in particular during With You on My Arm and Song on the Sand, Kimbrough’s impassioned performance was among the show’s most heart-felt.
With his own share of heart-felt moments, balanced perfectly with a flamboyance that nowadays could have easily devolve into stereotype was Nashville theatre newcomer, Michael Baird. New to Music City, but with a strong resume of theatrical turns in St. Louis, Baird is definitely one to watch. As Albin, who also stars at the club as ZaZa, he’s Georges’ partner in life and in work. Baird is charming, witty and knowns the difference between ham and cheese; hamming it up just enough to get the laugh, without being so cheesy as to have the laugh be followed by a groan. As expected, Baird’s strongest moments come with two of the show’s most beloved tunes, Mascara and the Act 1 show-stopper, I Am What I Am. Speaking of mascara, if ever there’s a reason to wear waterproof mascara, I Am What I Am is it, for there wasn’t a dry eye in the house as the lights came up on intermission. Landing every laugh and coaxing every tear, Baird excelled in the role.
The show’s other strongest performances happens all too infrequently for my taste in the form of Kristian Dambrino as Jacqueline, Georges’ and Albin’s favorite gal-pal and French restauranteur. The accent, the hair, the devil-may-care demeanor, plus Dambrino’s comedic timing and lovely vocal skills add up to a scene-stealing performance. Her performance during The Best of Times, is, well, among the best of times during the show.
Cast as Georges and Albin’s butler, who insists on being referred to as the maid is Russell Forbes. Seemingly borrowing heavily from Hank Azaria’s turn in The Birdcage, the Robin Williams film based upon the original French film, upon which La Cage aux Folles the musical is based, for me, Forbes’ performance fell kinda flat . Appropriate, considering the character literally falls flat on his face during the show’s closing number…a scripted fall, mind you, but had I seen the show in reverse it would seem to have been a bit of foreshadowing to his performance. I say this with tongue planted firmly in cheek for I realize the role is written in such a way that Forbes’ interpretation is very much inline to the over-the-top characterization presented in the original in 1984, and most certainly in Azaria’s take in the more recent film adaptation. It’s just one of the aspects of the show that doesn’t necessarily stand the test of time.
What is relatable, regardless of the passage of time, is at the crux of the piece–the relationships between parents and their children. To that end, Callum Ammons is Jean-Michel, Albin and Georges’ son (by way of a former hetero relationship between Georges and the much-discussed, but unseen Sybill). Ammons’ Jean-Michel returns home with news of his pending engagement to the daughter of a prominent—and conservative—political figure. Which sets up the premise of the show.
Ammons’ strong suit comes in his vocal performance. Meanwhile, there just doesn’t seem to be chemistry between him and his on-stage love interest, Anne, played by Alvia Dupree. Nonetheless, heir dream dance duet during With Anne on My Arm is a sweet moment.
Appearing as Anne’s parents Eduard and Marie Dindon are Jonathan Wilburn and Anne Street-Kavanagh. Of the duo, Street-Kavanagh catches the eye most. During a hopefully proper dinner at Jacqueline’s restaurant, I couldn’t help but notice Street-Kavanagh’s Marie as she slowly but surely enjoys a bit too much champaign. Wilburn’s Eduard is played straight and strait-laced, but in a show with so many flamboyant characters, he basically gets lost in the mix. I’m not even going to talk about his bearded lady look at the close of the show.
In small but enjoyable roles, Ellis bridges the gap by casting another Nashville favorite, Howard Snyder opposite another Music City newcomer, Caroline Dawson as M. And Mme. Renaud, owners of a local bistro frequented by Georges and Albin. Yes, there’s a bit of an age difference, but what the heck, it’s Saint-Tropez in the 80s, where anything goes, right?
Austin Jeffrey Smith, an Ellis favorite, does a brief (emphasis on brief, as in scantily clad) turn as Etinne, rounding out the cast with Joseph Bosse as Francis, Lauren Duarte as Colette, Hillary Mead as Suzette and Brad Hunter as Tabarro.
As expected in a show from Harvey Fierstein and the legendary Jerry Herman, La Cage aux Folles is mostly upbeat, with a message of positivity and an ever-present hopeful outlook for the future, resplendent with memorable tunes, driving the focus to the words and the music. To that end, the set is limited. That said, you gotta love Ellis’ inclusion of an oversized painting as a primary set piece in Georges’ home, an interpretation of Michelangelo’s The Creation of Adam. A clever wink, for within the story, Albin is forced to forego ZaZa’s penchant for drag and dress more manly in order to meet his future uptight in-laws.
Also enhancing the music, the show’s choreography, most enjoyable when it involves the entire cast of Les Cagelles. Kudos to the show’s choreographer, Kelvin Amburgey-Walton, who interestingly enough, played the role of Albin/Zaza in Ellis’ previous production of La Cage aux Folles.
While some characterizations in the script seem overdone, and may not have stood the test of time, the primary message of love, being who you are, being proud of who you are and being accepted for who you are are as relevant now as they were when the show premiered.
La Cage aux Folles wraps it’s three-week run with a final matinee at 3pm Sunday, February 2. CLICK HERE for tickets, or purchase them in person at Z. Alexander Loopy Theatre (2301 Rosa Parks Blvd. Nashville TN) one hour before curtain.
Up next at Circle Players as their 70th season continues is A Raisin in the Sun directed by Clay Hillwig, onstage at The Looby, March 20-April 5. CLICK HERE for tickets or more information. To keep up with the latest from Circle Players follow them on Facebook, Instagram and Twitter
If you are interested in coverage for your latest entertaining endeavor, simply click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram, Twitter and Facebook.
