Brent Barrett (Georges) with the ensemble of La Cage Aux Folles. Photo: Christopher Mueller.
Energetic kick lines. Rapid-fire, epic costume changes. Dizzying routines. Tap dancing. Splits!
Is there nothing Les Cagelles can’t do?
The dancing drag troupe in Signature Theatre’s completely irresistible production of La Cage aux Folles is one of the most impressive ensembles to grace local stages in recent memory. Zipping through director Matthew Gardiner’s challenging and whimsical choreography with ease, the group brings the perfect mix of glitz, easy confidence, and sheer athleticism to this joyful, life-affirming production. And those costumes — swaths of bird feathers, sequined nude leotards, mermaid-inspired dresses. This show is never wanting for spectacle or showmanship.
But while it’s easy to get delightfully distracted by the chorus, this is a show that belongs to Bobbie Smith. He’s Albin, the aging star of the titular Saint-Tropez nightclub, which is managed by his longtime partner Georges (Brent Barrett). The couple is being urged by their son, Jean-Michel (Paul Scanian, struggling with a rather thankless, unlikeable role) to tone down, well, everything about themselves (and in Albin’s case, disappear entirely). It’s all for the sake of a “meet the parents” dinner with his fiancé’s conservative, politically-active father (Mitchell Hebert) and his wife (Signature MVP Sherri L. Edelen, providing great comic relief in her every scene). Those familiar with the play’s many adaptations over the past few decades know that nothing will proceed as planned, particularly when Albin decides to don one of his costumes to assume the role of Jean-Michel’s mother.
Overly-dramatic, scene-stealing Albin can be hilarious in his histrionics (even formidable stage veteran Barrett can’t help but break character for a moment to laugh at his antics), and Smith is a skilled physical comedian to boot. But it’s his heartfelt, soulful scenes that show how born for this role Smith was. His rendition of the self-affirming anthem, “I Am What I Am,” brings chills — every line, every facial expression, communicates something new. And he completely sweeps up everyone around him — even the audience is ready to dance and sing along — during “The Best of Times,” his impromptu duet with prickly restaurant owner Jacqueline (Nova Y. Payton, who makes us wish she had more opportunities to sing in this show).
Signature’s production drives home what a charming love story La Cage is, a detail that sometimes gets lost in other versions of the play (most notably Robin Williams’ and Nathan Lane’s “The Birdcage,” which brought the story to a more mainstream audience — the movie is much more of a farce than a romance). Smith and Barrett have a wonderful, tender chemistry, and their love still feels very much alive. Barrett romances Albin in the lovely, lilting “Song on the Sand,” and offers his entitled son a not-so-gentle reminder of his partner’s sacrifices during the powerful “Look Over There.” One of the less-obvious lessons that the inclusive and celebratory La Cage has to offer is the danger that can come from giving a child everything he could ever want. Luckily, it isn’t too late for Jean-Michel— or the rest of us—to learn something.
La Cage aux Folles runs through July 10 at Signature Theatre. Tickets ($40-$101) are available online.
