La Cage Aux Folles Review
It’s a heartwarming celebration of life executed by a company of extraordinary talent - don’t miss it.
Address: Regent's Park, Inner Circle, London NW1 4NU.
Until 23 September 2023. Book now.
Our verdict:
★★★★★
Johan Persson
In the summer, nothing beats theatre al fresco, and Regent’s Park Open Air Theatre has to be one of the most picturesque locations in town. This month, a truly glorious musical revival of Jerry Herman and Harvey Fierstein's show-stopping classic, La Cage aux Folles, has opened at this beautifully verdant, fairy-lit venue, bringing with it a lavish landslide of sequins, false eyelashes, and unbridled joy.
It is (sadly) Tim Sheader’s final production as artistic director at the theatre, and it’s clear that he has decided to go out with one hell of a bang...
Based on the 1973 French play of the same name, La Cage aux Folles tells the story of a gay couple, Georges, the manager of a legendary Saint-Tropez drag bar, and Albin, aka Zaza, the club’s headline act. After a truly mesmerising opening number (more on that later), Georges’ beloved son returns home and announces his engagement to the daughter of an ultra-conservative politician, and a series of farcical escapades ensue.
Johan Persson
Beautifully backed by an onstage band, ‘Les Cagelles’ (the performers of the club) WOW from the get-go as they float down the aisles, extravagantly dressed, and introduce themselves with ‘We Are What We Are’ - the show’s staggering opening number. With lyrics such as “we face life though, it's sometimes sweet and sometimes bitter; Face life, with a little guts and lots of glitter. Look under our frocks: Girdles and jocks…”, the mood is set...
We then meet Georges (Billy Carter) and Albin (Carl Mullaney), and their ‘maid’ Jacob (an exuberant and magnetic performance by Shakeel Kimotho), and the tour de force that is Albin’s drag alias. Mullaney’s first song - (A Little More) Mascara - sees him transform into Zaza while moving from backstage to onstage seamlessly in one brilliantly sung number. It is impressively smooth.
It brought the audience first to tears and then to their feet
Billy Carter’s funny, thoughtful, and wholly believable performance as Georges is terrific. He is incredibly likeable and sings like a dream. Carl Mullaney also shines as Albin / Zaza - if there was a roof over the theatre it would have almost certainly blown off during his big number (the iconic I Am What I Am), which brought the audience first to tears and then to their feet (myself included).
Johan Persson
Mullaney is sharp and witty but there is also palpable vulnerability to his performance, particularly after he is rejected by Jean-Michel (Georges's son, whom Albin has co-parented as his own). For me, the chemistry between Carter and Mullaney is one of the show’s greatest pleasures. I fell under the spell of their charming and tender duets.
I fell under the spell of their charming and tender duets.
Debbie Kurup is perfectly pitched as feisty French / Geordie restaurant owner Jaqueline, and relative novice Ben Culleton plays Georges's energetic, loved-up son with aplomb.
And as for ‘Les Cagelles’, well, I’ve never seen such dancing. They furiously tap and kick away with so much energy and in such incredibly tight unison that I was utterly transfixed and completely thrilled. I’ve never seen such long legs kick quite so high (Stephen Mear’s choreography is fantastic).
Without exception, they are all wonderful, but I couldn’t keep my eyes off “the songbird of Avignon, the nightingale of Nice, the triller from Manila” - Chantal (a hilarious performance by Jordan Lee Davies) and the utterly captivating Hanna from Hamburg, dexterously played by Jak Allen-Anderson, whose intense stage presence and ferocious whip cracking will stay with me for a long time.
Visually, the entire production is a joy to behold. From Ryan Dawson Laight’s eye-popping costumes to Colin Richmond’s sparkling set. Howard Hudson’s lighting is also a master stroke, especially when daylight fades and La Cage aux Folles comes to brilliantly illuminated life.
Visually, the entire production is a joy to behold.
The second half didn’t have quite the same high-kicking energy as the first, but it was still hugely entertaining, and as we sat under the stars amongst the trees and the sparkling stage revolved for the big feel-good number, ‘The Best of Times’, well, it really did feel like the best of times.
This fabulous musical is a joyous romp of glitter, sass, and endless energy and fun. Filled with warmth and humour, it’s also a touching tale of the true meaning of family, belonging, and being true to yourself. It’s a heartwarming celebration of life executed by a company of extraordinary talent - don’t miss it.
