Review: La Cage Aux Folies at the New Wimbledon Theatre

4 STARS. Bill Kenwright's production of La Cage Aux Folies is an incredible evening of camp cabaret, with furs and feathers galore, says Kate Bayer

It’s always a treat to enter the strikingly handsome New Wimbledon Theatre and this week there’s quite a buzz in the air as the keenly anticipated award winning La Cage Aux Folles struts its stuff on this South London stage.

Adapted by Harvey Fierstein and Jerry Herman from the 1973 French play by Jean Poiret, La Cage Aux Folles first exploded onto Broadway to much acclaim in 1983. Set on the French Riviera it tells the story of the gay couple George and Albin who make a living running a St Tropez drag club. All is running smoothly in their idyllic world until George’s son from a previous straight relationship, Jean Michele, announces he’s to marry the daughter of notorious right wing homophobe, Dindon.

Jean Michele is determined to have a show of normality with both sets of parents getting together at George’s over the top abode. Hereby begins the merriment, chaos and homophobe humiliation as Albin decides to enter the fray disguised as the butter-wouldn’t-melt-in-the-mouth matriarchal figure when Jean Michele’s real mother fails to turn up.

The atmosphere in this Wimbledon theatre was electric before the show had even begun. The audience were pumped and ready to go and oh how they were rewarded by the gloriously camp opening number, the iconic ‘We Are What We Are’. Performed by the fine ensemble of seven gorgeous ladies adorned with fur capes Bette Davis would have sawn her arms off for, this number certainly packed a punch. I was crying with joy already.

Sadly the mascara dried on my face and the air slightly left the room as the first bit of dialogue kicked in. Unable to maintain the electricity of the opening number, proceedings seemed to slow quite substantially. However, there were still laughs aplenty and it wasn’t long before the ensemble were back again with a wonderful rendition of ‘La Cage Aux Folles’.

There’s fur and feathers galore in this sumptuous Bill Kenwright production directed by Martin Connor and gloriously designed by Gary McCann. Adrian Zmed provides us with a slick performance as the silky smooth George and John Partridge of Eastenders fame is clearly having a ball as George’s lover, Albin.

It’s amazing and somewhat chilling that this celebration of same sex love, 44 years after it was first conceived, should now feel more timely than ever.

The second half of the show moved swiftly and concluded with a rousing finale bringing the audience to its feet with awe and gratitude. How appropriate that the statue atop the dome of the theatre should be Laetitia, the Roman Goddess of gaiety. How proud she must be.